Adobe Audition

®

User Guide

Legal Notices
Copyright
© 2003 Adobe Systems Incorporated. All rights reserved.
Adobe® Audition™ User Guide for Windows®. If this guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization. Adobe, the Adobe logo, Adobe Audition, Adobe Premiere, and After Effects are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple, Macintosh, and Mac OS are trademarks of Apple Computer, Inc., registered in the U. S. and other countries. Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation in the U.S. and/or other countries. MPEG Layer 3 audio compression technology is licensed by Fraunhofer IIS and Thompson. mp3PRO audio coding technology licensed from Coding Technologies, Fraunhofer IIS and Thomson Multimedia. All other trademarks are the property of their respective owners. Supply of this product does not convey a license nor imply any right to distribute MP3-encoded or mp3PRO-encoded data created with this product in revenue-generating broadcast systems (terrestrial, satellite, cable, and/or other distribution channels), streaming applications (via Internet, intranets and/or other networks), other content distribution systems (pay-audio or audio-on-demand applications and the like) or on physical media (compact discs, digital versatile discs, semiconductor chips, hard drives, memory cards and the like). An independent license for such use is required. For details, please visit http://mp3licensing.com Contains an implementation of the LZW algorithm licensed under U.S. Patent 4,558,302. Notice to U.S. government end users. The software and documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 94110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 6060, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Part number: 90047223 (07/2003)

iii

Contents
Legal Notices Copyright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii Introduction Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Registration ...................................................1 .............................................1 Customer support

Adobe Audition at a Glance Sound Your Best . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Work Efficiently ...............................................4 ...........................................5 Use Integrated Tools

Chapter 1

Key Concepts of Adobe Audition Destructive and Non-Destructive Editing Real-Time Preview Multitrack Session Files

.......................7

............................................8

.....................................................8 ..................................................9 ...................9

Working with Premiere Pro and After Effects

Chapter 2

Looking at the Work Area Edit View and Multitrack View

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 . . . . . . . . . . . . . . . . . . 13 . . . . . . . . . . . . . . . . . . 13

Switching from Edit View to Multitrack View Switching from Multitrack View to Edit View Dockable Windows Placekeepers Toolbars Files Pane Effects Pane Favorites Pane Drop-down Menus Organizer Window

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Wave Display/Session Display

iv CONTENTS

Presets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Graph Controls Level Meters Show Valleys Zoom Buttons Time Window Status Bar

Transport Buttons

Sel/View Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Window Menu – Edit View

Chapter 3

Wave File Formats Supported by Adobe Audition 64-bit doubles (RAW) (.dbl) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 8-bit signed (.sam) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 A/mu-Law Wave (.wav) ACM Waveform (.wav): Amiga IFF-8SVX (.iff, .svx) Apple AIFF (.aif, .snd) ASCII Text Data (.txt) Audition Loop (.cel) Dialogic ADPCM (.vox) DVI/IMA ADPCM (.wav) Microsoft ADPCM (.wav) mp3Pro® (.mp3) Next/Sun (.au, .snd) SampleVision (.smp) Windows PCM (.wav)

Creative Sound Blaster (.voc) DiamondWare Digitized (.dwd)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Windows Media Audio(.wma) PCM Raw Data (.pcm) (.raw)

Chapter 4

Navigating the Edit View About Edit View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Navigating the Wave Display Waveform View/Spectral View Horizontal Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

v

Vertical Ruler

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Recording in Edit View

Wave Display Right-Click Menu

Chapter 5

File Menu – Edit View New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Open Open As . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Open Append

Extract Audio from Video Extract Audio From CD Revert to Saved Close

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Close All Waves and Session Save Save As Save All

Close Only Non-Session Waveforms

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Save Selection

Batch File Convert Flush Virtual File MRU List Exit

Free Up Space in Temp Files

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Chapter 6

Edit Menu – Edit View Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Enable Undo/Redo Set Current Clipboard Copy Cut Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Repeat Last Command

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Paste to New Mix Paste Copy to New

Insert in Multitrack

vi CONTENTS

Insert Play List in Multitrack Select Entire Wave Delete Selection Delete Silence Trim Zero Crossings Find Beats Auto-Cue Snapping

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Group Waveform Normalize Out of Band Peaks Adjust Sample Rate Convert Sample Type

Chapter 7

View Menu – Edit View Multitrack View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Waveform View Spectral View Show Cue List Show Play List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Show Organizer Window Creating Cues and Ranges Show Transport Buttons Show Zoom Buttons Show Time Window Show Level Meters Show a Placekeeper Display Time Format Vertical Scale Format Toolbars Status Bar Show Sel/View Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Wave Properties

Chapter 8

Effects Menu – Edit View Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

vii

Silence Amplify

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Amplitude

Binaural Auto-Panner Channel Mixer Envelope Normalize Pan/Expand Delay Effects Chorus Delay Echo Flanger Dynamics Processing Hard Limiting

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Stereo Field Rotate

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Dynamic Delay Echo Chamber Full Reverb QuickVerb Reverb DirectX Filters

Multitap Delay

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Sweeping Phaser

Dynamic EQ FFT Filter

Graphic Equalizer Notch Filter Quick Filter

Graphic Phase Shifter Parametric Equalizer Scientific Filters Noise Reduction Clip Restoration Hiss Reduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Click/Pop Eliminator

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201 Chapter 11 Favorites Menu – Edit View Edit Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 Timed Record . . . . . . . . . . . . . . . . . . . . . .viii CONTENTS Noise Reduction Special Distortion Music Convolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 Chapter 12 Options Menu – Edit View Loop Mode . . .208 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195 Show Phase Analysis Statistics General Tab Histogram Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Doppler Shifter Pitch Bender Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189 DTMF Signals Noise Generate Tones . . . . . . . . . . . .190 Chapter 10 Analyze Menu – Edit View Show Frequency Analysis . . . . . . . . . . .183 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 . . . . . . . . . . . . . . . . . . . .200 . . . . . . . . . . . . . . . . . . .203 Function Tab Script Tab Tool Tab Help Tab . . . . . . . . . . . . . . . . . . . . .197 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192 .187 . . . . . . .178 . . . . . . . . . . . . . . . . .185 Refresh Effects List Chapter 9 Generate Menu – Edit View Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 Monitor Record Level MIDI Trigger Enable Show Levels on Play and Record . . .189 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 . . . . . . . . . . . . . .175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269 About Real-Time Effects . . . . . . . . . . . .248 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220 . . . . . . . .224 . . . . . . . . . . . . . . . . . .269 Track Context Menu Block Context Menu About Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 . . . . . . . . . . . . . . . . . . . . . . . . . . .242 About Session Files Navigating the Session Display Inserting Existing Audio Into Your Session Recording New Audio Into Your Session Track Controls Session Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241 . . . . . . . . . . . . . . . . . . . . . .222 . . . . . . . . . . . . . . .218 . . . . . . .229 . . . . . .236 Device Properties Wave Out Tab Wave In Tab MIDI Out Tab MIDI In Tab Device Order Shortcuts (Keyboard & MIDI Triggers) Chapter 13 Navigating the Multitrack View About Images . . .229 .230 . . . . . . . . . . . . . . . . . . . . . . . . . .232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258 . . . . . . . . . . .241 . . . . . . . . . . . . . . . . . . . . . .219 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 . . . . . . . . . . . .228 . . . . . . . . . . . . . . . . . . . . . . . . . . .241 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231 . . . . . . . . . . . . . . . . . . . . . . . .220 . . . . . . . . . . . . . . . . . . .214 . . . .240 About Blocks . . . . . . . . . . . . . . . . . . . . . .242 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix Synchronize Cursor Across Windows Windows Recording Mixer Scripts & Batch Processing Batch Process Settings Mouse Wheel System Tab Colors Tab Spectral Tab Controls Tab Display Tab Data Tab SMPTE Tab Multitrack Tab . . . . . . .209 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249 . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . .283 . . . . . . . . . . . . . . . . . . . . . .293 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 Save Mixdown To Video As Default Session MRU List Exit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 . . . . . . . . .275 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .293 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .283 . . . . . . . . . . . . . . . . . . .284 . . . . . . . . . . . . . . . . . . . . . . .280 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276 . . . . . . . . . . . . . . . . . . . . . .281 . . . . . . . . . . . . . . . . . . . . . . . .282 Show Volume Envelopes Show Wet/Dry Mix Envelopes Show FX Parameter Envelopes Show Tempo Envelopes Enable Envelope Editing Session Properties Show Mixers Window Tracks Mixer Tab Bus Mixer Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .x CONTENTS Chapter 14 File Menu – Multitrack View About Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289 . . . . . . . . . . . . . . . . . . .291 . . . . . . . . . . . . .275 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282 . . . . . . . .290 . . . . . . . . .294 Show Track EQ Window Show Track Properties Show Organizer Window Show Cue List Show Transport Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273 New Session Open Session Close Session . . . . . . . . . . . . . . . . . . .284 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .283 Enable Block Edge Dragging . . . . . . . . . . . .273 . . . . . . . . . . . . . . . . . .281 Show Pan Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 Append to Session Close Session and Waveforms Open Waveform Save Session Save Session As Save Mixdown As Save All Close Only Non-Session Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280 Chapter 15 View Menu – Multitrack View Edit Waveform View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 Free Up Space in Temp Files . .279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275 . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304 . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 Loop Duplicate Mute Blocks Lock in Time Convert to Unique Copy . . . . . . . . . . . .294 . . . . .305 Mix Down to Empty Track N (Bounce) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304 . . . .301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301 . . . . . . . . . . . . . . . . . . . . . . .305 Zoom in/Zoom out (MIDI Block Only) Set Controller 7 (MIDI Block Only) . . . . . . . . . . . . . . . . . . . . .307 . . . .306 . . . . . . . . . . . . . . . . . . .302 . . . . . . .301 Edit Waveform (Wave Block Only) Loop Properties (Wave Block Only) Take History (Wave Block Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . .304 . . . .309 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Show Zoom Buttons Show Time Window Show Level Meters Show Load Meter Show Video Window Show a Placekeeper Display Time Format Toolbars Status Bar Show Sel/View Controls . . . . . . . . . . .294 . . . . . . . . . . . . . . . .302 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308 . . . . . . . . . . . . . . . . . . .306 . . . . . . . . . . . . . . .301 . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303 Allow Multiple Takes (Wave Block Only) Adjust Wave Volume (Wave Block Only) Adjust Wave Pan (Wave Block Only) Transpose (MIDI Block Only) Set Tempo (MIDI Block Only) Active Track (MIDI Block Only) Mix Down to File Group Blocks Group Color Block Color Punch In Crossfade Wave Block Properties (Wave Block Only) . . . . . . . . . . . . . . .305 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295 . . . . . . . . . . . . . . . . . . . . . .302 . . . . . . . . . . . . . . . .306 . . . . . . .296 Advanced Session Properties Chapter 16 Edit Menu – Multitrack View Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii CONTENTS Lock for Play Only Split Merge/Rejoin Split Align Left Align Right Trim Cut Full . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317 Frequency Band Splitter Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .313 . . . . . . . . . . . . . . . . . . . . . . . . . . . .316 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315 . . . . . . . . . . . . . . . . . .316 Chapter 18 Effects Menu – Multitrack View Envelope Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 Show Levels on Play and Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .322 Chapter 19 Options Menu – Multitrack View Loop Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314 . .313 Remove Blocks Select All Blocks Insert/Delete Time Snapping Refresh Now Destroy Blocks (remove & close) Select All Blocks in Track N Group Waveform Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315 . . . . . . . .320 . . . . . . .311 . .312 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315 MIDI from File Video from File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314 Check For Hidden Blocks Chapter 17 Insert Menu – Multitrack View Wave from File . . . . . . . . . . . . . . . . .316 Audio from Video File File/Cue List Currently Open Waveform List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 Monitor Record Level(s) . . .313 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311 Adjust Boundaries . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350 . . . . . . . . . . . . . . . . . .351 Keyboard Shortcuts Dialog Appendix B Glossary Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328 Shortcuts (Keyboard & MIDI Triggers) Chapter 20 Multichannel Encoder Multichannel Encoder Requirements Elements of the Multichannel Encoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . .326 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348 .327 Synchronize Blocks with Edit View Pause Background Mixing Windows Recording Mixer Device Properties Device Order . . . .349 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329 343 Opening Encoded and Exported files back in Adobe Audition Appendix A Keyboard Shortcuts File Menu Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . .350 . . . . . . . . . . . . . . . . .350 . . . . . . . . . . .326 . . . . . .329 . . . . . . . . . . . . . . . . . . . . . . . . . . .367 . . . . . . . . . . . . . .346 Edit Menu Shortcuts Scroll/Select Shortcuts View Menu Shortcuts Analyze Menu Shortcuts Options Menu Shortcuts Transport Shortcuts Help Menu Shortcuts . . . .328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . .325 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . . . . . . . . . . . . . . . .353 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351 . . . . . .328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii MIDI Trigger Enable MIDI Panic Button SMPTE Slave Enable SMPTE Master Enable SMPTE Start Offset Sample Accurate Sync Metronome Settings . . . . . . . . . . . . . . . . . . . . . . .326 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

xiv CONTENTS .

see the HowToInstall file on the CD. W If you .html. the complete multitrack digital audio recorder. and palette controls as you work in Adobe Audition. For more detailed information. Follow the on-screen installation instructions. from tips and tutorials to tech support information. When you first start the Adobe Audition application. You can also register by filling out and returning the registration card included with your software package. The combination of Adobe Audition and any Windows sound card puts the power of an entire digital recording studio at your fingertips. and inform you about new Adobe Audition software developments. Want a complete list of keyboard See the Keyboard Shortcuts chapter. and XP.adobe.1 Introduction elcome to Adobe Audition. ME. offer technical support. . and tool tips. You can also access a host of continually updated Web resources for learning Adobe Audition. refer to the technical support card provided with the Adobe Audition documentation. including printed guides. . Terms may vary depending on your country of residence. For more information. which you can access from Adobe’s Web site at www. Registration In order for Adobe to provide you with the highest quality software. please register your application. Getting Help Adobe provides a variety of options you can use to learn Adobe Audition. Are looking for a detailed information about a feature Search for the feature in Help or look it up in the index. you may be entitled to technical support. Try this . • Use the Adobe Audition tool tips feature to help identify tools. and thanks for using Adobe Audition. 2000. . shortcuts Want answers to common troubleshooting questions Search the Adobe Support Knowledgebase and Adobe Audition Top Issues. . Want information about installing Adobe Audition Are new to digital audio editors • See the “Looking at the Work Area” chapter to get familiar with the work area and tools. you’re prompted to register online. So start making some great sounds. editor. Customer support When you register your product. online Help. You can choose to submit the form directly or fax a printed copy. and mixer for Windows 98. buttons.com/support/products/audition. .

. • See the Adobe Audition support page for information on top support issues and trouble- shooting information for common problems.Adobe also provides several forms of automated technical support: • See the ReadMe file installed with the program for information that became available after this guide went to press.

96kHz. Designed for audio and video professionals in studios. Mix up to 128 tracks. Support for 24-bit/96kHz recording ensures DVD-ready sound.3 Adobe Audition at a Glance A dobe Audition software is a professional audio editing and mixing environment. including standard rates such as 44. CD. Scientific Filters. Use integrated tools Adobe Audition provides an all-in-one audio editing and mixing solution. and audio restoration features.2kHz. nuanced audio of the highest possible quality. Work efficiently Adobe Audition puts all the tools you need at your fingertips so that you can get your work done quickly and efficiently. analysis tools. Adobe Audition delivers advanced audio mixing. and use more than 45 DSP (digital signal processing) effects. Sound Your Best Adobe Audition enhances your sound with the following advanced audio features: Highest-quality audio Record. An accessible interface helps you to get up and running in no time. or DVD-Audio. and Flange. Check for in-phase material and mono compatibility in the Phase Analysis window. and use the Frequency Analysis window to take snapshots of frequency (FFT) data and export that information to the clipboard. and post-production facilities. Powerful DSP tools and effects Work with more than 45 DSP tools and effects. real-time effects. Hard Limiting. Adobe Audition also supports third-party DirectX plug-ins. Doppler Shifter. Adobe Audition lets you: Sound your best Adobe Audition supports files with bit depths of up to 32-bit and sample rates in excess of 192 kHz. the precise tools in Adobe Audition give you the power to create rich. and dockable pallets enable you to arrange your workspace to match a project’s needs. Whether you’re producing music. create loops. and Time/Pitch stretch. and 192kHz. short crossfades can be added for smooth. looping support. restoration features. A complete solution for digital audio. . Sample-accurate editing Be as precise in your cuts as you like. Dynamics Processing. and effects-processing capabilities. as well as advanced processing such as Parametric Equalizer. Noise Reduction (including click and pop elimination). mastering. edit individual audio files. DVD. Delay.1kHz. or audio for video. All processing is done at 32-bit resolution for the highest quality sound. Integrated multitrack and edit views. 88. Edits can be accurate down to the sample level and can be automatically snapped to zero crossings. and mix high-resolution 32-bit files using any sample rate up to 10 MHz. Adobe Audition is up to the task. editing. Adobe Audition includes standard effects such as Reverb. broadcast facilities. and video support provide the power you need in a fully integrated audio toolset. so whether your destination is tape. Adobe Audition is a complete multitrack recording studio that offers a flexible workflow coupled with exceptional ease of use. radio broadcasts. edit. mastering and analysis tools. pop-free cuts every time and quick fades can be added using keyboard shortcuts.

six mono waves. WAV files are stamped with session data. Also.4 Adobe Audition at a Glance Precise sample rate conversion Convert audio sample rates with confidence: transparent sample-rate conversion guarantees that if you need to change the sample rate of audio. Real-time effects Process effects in real-time instead of waiting for each effect to render before moving on. resizable. Favorites Use Favorites to build a customized collection of commands. and wet/dry transitions for clips in a multitrack mix using sample-accurate automation envelopes or “rubber bands. or a multichannel WMA 9 file. available effects. To reduce CPU usage. effects parameter. lock a track to cache the rendered effect. Automation envelopes Create smooth volume. and can be configured to meet your production needs. Surround sound support Use the multichannel encoder to create a surround mix from any session in the multitrack view. Integration with Adobe Premiere® Pro and Adobe After Effects® Send your audio from Adobe Premiere Pro or After Effects into Audition with the Edit Original command. effects. so Audition can automatically open the session that created the WAV file you are using in the other software. scripts. automate repetitive tasks with scripts. Work Efficiently Adobe Audition increases your productivity with extensive customization and performance options: Customizable workspace Get up and running quickly using an interface that is dockable. and external software tools. unlock it instantly to make adjustments. User-definable dither depth and a wide array of Noise Shaping curves assure that your audio will retain its character and definition. Batch file processing Use the dedicated batch-processing wizard to easily convert large numbers of files among different sample rates. phase analysis. . Ideal for taking CD material at 44. and spectral view) in real-time while editing to save time and see your audio characteristics from edit to edit. pan. where you can quickly access currently open audio. create default sessions that can be called up as templates for projects that share similar configurations. Customizable dithering Convert high-bit-rate material to lower resolution formats without introducing audible artifacts. statistics. Precise analysis tools Work with built-in analysis tools (frequency analysis. and video files. and file formats.1kHz and upsampling it to 48kHz for video or 96kHz for DVD. and favorites. bit depths. Favorites appear in the Organizer window and the Favorites menu. For example. then export the mix as a 6-channel wave. it will sound its best. High-quality stretching Change tempo without shifting pitch or shift pitch without changing tempo thanks to high- quality stretch support.” Envelope curves can be adjusted using splines to produce gradual. non-linear transitions. and can be assigned keyboard shortcuts for quick access. MIDI. Organizer window Keep your project resources at your fingertips using the Organizer window.

play back AVI and MIDI files.ADOBE AUDITION 5 User Guide Use Integrated Tools Adobe Audition integrates many powerful digital audio tools: Complete toolkit for digital audio Handle all of your digital audio editing tasks within a single application: Audition includes an integrated multitrack mixing view. Cocktail Jazz. Broad file-format support Work with files that arrive from a wide array of sources and deliver files in the audio format you need: Audition supports more than twenty file formats and variations. mp3PRO. and looping capabilities. a mono and stereo waveform editing view. Apply volume. soundtracks. and World Music. effects support. This means you can do anything from creating a totally new soundtrack. songs. Bossa Nova. Loop-based soundtrack creation Use flexible looping tools to quickly construct high-quality music for songs or movie soundtracks. Alternative Rock. AIFF. Audio for video Open AVI files in the multitrack view and use all of the audio tools available in Adobe Audition on the soundtrack. pan. Loops automatically match global session tempo and key to produce dynamic musical performances. Techno. including Windows PCM (wav). MP3. Styles include Classical and Orchestral. and effects automation envelopes. Ska. Rockabilly. Powerful multitrack editing Use the multitrack view for recording. Dub Reggae. to sweetening the recording you already have. 70s Funk. and editing sessions with up to 128 stereo tracks. and more. to reducing noise on the current soundtrack. Lounge. and more. Thousands of royalty-free production music loops Adobe Audition includes thousands of original. Ambient. performance-based loops in a wide range of musical genres that you can combine to create your own music beds. use real-time effects and EQ on every track. and WMA 9. Blues. mixing. .

6 Adobe Audition at a Glance .

Therefore. a change in audio volume would actually alter the amplitude of a waveform. pasting. When you save your changes. adding reverb. or sampled. The use of real-time effects in Multitrack View is non-destructive as well. and it uses that copy for editing. the volume change would consist of commands that essentially instruct the program to “get louder at this point”. into a binary representation. or volume change. are non-destructive. meaning that an analog waveform (such as your voice saying “hello”) is converted. When you put together a song or audio presentation in Adobe Audition. Destructive and Non-Destructive Editing Being a software-based audio system. so that the original audio data changes. However. The original file remains unaltered until you choose to save any changes you’ve made (by choosing Save from the File menu. you should be familiar with some of its general operating concepts. etc. even “destructive” edits aren’t applied directly to the waveform in use until you save the file. much as text files are your building blocks when you use a word processor to compose a book.) are applied directly to the waveform. One key point is the way in which an audio program operates on a waveform. destructive edits in Adobe Audition don’t directly affect your original waveform when you perform them. whereas in non-destructive editing. such as a cut. pasting. Adobe Audition uses “delayed destructive editing”. it places a copy of the file in a temporary folder. waveforms are your building blocks. In essence. The following information should help you to understand Adobe Audition’s working model in a few key areas. Adobe Audition deals with audio in a digital form. each “edit” is stored as an instruction to be applied to the file. When you open a waveform in Adobe Audition. For example. instead. in destructive editing. There are two kinds of computer-based audio editing: destructive and non-destructive. • Non-destructive editing implies that the file on disk is not actually altered.7 Chapter 1: Key Concepts of Adobe Audition T o get the most out of Adobe Audition. • Edits made in the Multitrack View. • Edits performed in Adobe Audition’s Edit View like cutting. so when you save your file again. and applying effects (such as Reverb or Limiting) are destructive in nature. This sampled waveform then exists as a waveform on your computer’s hard drive. for example). Adobe Audition overwrites the original file with what you’ve done to the copy. those edits are applied to the waveform itself. • Destructive editing simply means that edits (cutting. Adobe Audition employs both destructive and non-destructive editing methods. split. in Adobe Audition. .

Real-Time Preview In the Edit View. (Copies are automatically deleted from your hard drive when you close a file or exit the program.8 CHAPTER 1 Key Concepts of Adobe Audition This same model of delayed destructive editing also enables Adobe Audition to offer multiple levels of Undo. while the audio is playing. Adobe Audition continuously mixes. Adobe Audition retains a copy of the file as it exists before the edit. and will continue to do so while playing. meaning that changes you make to effect parameters while in the dialog for that effect become audible immediately.) The preview feature updates in real time. and can be freely undone. When something is altered. As stated above. such as a moved or deleted sound file. Keep in mind. The meter goes from “empty” to “full” as it mixes the session. This means that you can monitor the processed signal before applying the effect to the waveform. The faster your system – especially your CPU and hard drive(s) – the faster Adobe Audition can mix in the background. You can think of this meter as a “ready” indicator. On slower systems. The Mix Gauge at the bottom of the Track Controls in the Multitrack View shows how far along Adobe Audition is in the process of mixing your session. that your system’s performance affects the preview feature. and it does so through background mixing. (Remember: the effect is actually applied to a copy of the waveform. you need not wait for the meter to reach completion entirely before beginning playback. or new material recorded into a track. However. In multitrack the preview is not necessary. Background mixing occurs behind the scenes and is generally very fast. Because you can edit. some effects may tend to break up or skip during preview. It does this for each edit you perform. Adobe Audition offers real-time preview for many of its effects. When you apply destructive edits to a waveform. Multitrack Adobe Audition’s multitrack environment enables you to place multiple waveforms. as effects are used non-destructively. No matter which type of audio you use. each sound instance in Adobe Audition’s Multitrack View is referred to as a “block. it also requires additional hard drive space to store these copies.) You can disable the Undo feature if your disk space runs too low. MIDI files. a volume change. enabling you to travel back through your edits to previous states of the waveform. every effect in the Multitrack View is in preview all the time. Multiple Undo gives you tremendous freedom in working on waveforms without having to worry about destructiveness in the least. and video soundtracks into different tracks for simultaneous playback and mixdown. Basically. . so you can safely begin playback when the Mix Gauge meter is about halfway up. However. add. and subtract blocks in the multitrack environment.” The mixing process involves combining the audio of all of the placed blocks into two or more channels for output. Adobe Audition must immediately work that change into the mixed output. and it turns a bright color when the entire session is fully mixed. however. Adobe Audition must constantly watch for changes to the multitrack session.

ADOBE AUDITION 9 User Guide

In general, if the background mix is not sufficiently complete, you’ll hear a break-up or skipping when playing back the mix. If that happens, just wait a few seconds – Adobe Audition will usually catch up very quickly, and you can begin playing again. Your audio might also start to break up if you are using real-time effects in multitrack view and your system cannot keep up with the processing. If this happens, try using the Lock feature on some of your effected tracks to mix the effects into the background mix and take some load off of your CPU. Playback can be directed to a pair of outputs (as in a single stereo sound card) or to multiple outputs (as in multiple stereo sound cards, or a single card with multiple outputs). Adobe Audition produces a mix for each set of outputs used. If you’re using one stereo sound card, Adobe Audition generates just one mix, but if you have multiple outputs, it must create a separate mix for each output device (typically a stereo pair). The additional mixing required for multiple outputs demands more processing power and therefore tends to slow down the mixing process.

Session Files
In addition to waveforms, MIDI files, and video soundtracks, Adobe Audition also makes use of a type of file called a session file. Session files (.ses) are very small in size and simply contain the details of your Adobe Audition multitrack session, as in what audio and video files are used and where, the volume and pan levels, the names of the tracks, what real-time effects are used, etc. With this in mind, you cannot simply copy a session file to a floppy disk and have a friend open it up and play it. For example, if you create a session with a file called C:\Music\hihat.wav, and later use another program (like Explorer) to move hihat.wav to a new folder called C:\Music\Drums, Adobe Audition won’t know that you moved the file the next time you load the session. Try to keep this in mind as you manage your audio elements and session files so that you don’t end up losing tracks or objects inside your sessions. If you want to move an entire session file and all of its embedded audio elements to a new directory, choose File > Save Session As, and select Save Copies of All Associated Files.

Working with Premiere Pro and After Effects
You can easily move projects between Adobe Audition and Adobe’s video applications by using the Edit Original command in Premiere Pro and After Effects. To enhance the functionality of this command, you can configure Adobe Audition to link mixdown files with related session files so you can quickly edit and remix soundtracks. To link mixdown and session files, choose Options > Settings, click the Data tab, and select Embed Project Link Data for Edit Original Functionality.

10 CHAPTER 1
Key Concepts of Adobe Audition

11

Chapter 2: Looking at the Work Area

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ou might think of Adobe Audition as two major audio programs in one. It’s a powerful single-waveform editor that can be used to play, record, modify, and process mono and stereo waveforms. And Adobe Audition can also digitally record and mix numerous audio files (using up to 128 tracks) to either a single sound card or multiple sound cards, while providing for real-time effects and level/pan mix adjustments in a non-destructive editing environment. This chapter is meant to be a brief introduction to the various navigation and functional controls of this deceptively simple – yet powerful – program. Here we’ll concentrate on the major interface elements that are common between Adobe Audition’s two major work areas: Edit View and Multitrack View. Parts of the program that are more specific to either area will be covered in subsequent chapters. Adobe Audition makes liberal use of your mouse’s right button. Whenever you see a simple function button, control, window, or waveform action, try right-clicking it. Chances are you’ll be surprised by a useful shortcut menu or a set of handy options that can make Adobe Audition’s operation even easier.

Edit View and Multitrack View
Adobe Audition offers two major workspaces: Edit View and Multitrack View. While in Edit View, Adobe Audition can be thought of as being a single-waveform editor that can be used to record, edit, and process mono and stereo waveforms. Audio files can be saved to disk (including CDs), or played back through any sound card that has been installed within your computer.

12 CHAPTER 2
Looking at the Work Area

Edit View with Organizer Window Active

On the other hand, Multitrack View is where Adobe Audition allows you to record, play, and mix multiple tracks of audio in a virtual 128-track recording studio. Real-time effects can be applied, relative track volume and stereo placement may be adjusted, and audio can be played back through single or multiple sound cards.

ADOBE AUDITION 13 User Guide

Multitrack View with Organizer Window Active

Switching from Edit View to Multitrack View
There are several ways to switch from Edit View to Multitrack View. Here are the most popular:
• Select Multitrack View from Adobe Audition’s View menu. • Click on the left-most icon on the Adobe Audition File toolbar. • Press F12.

Switching from Multitrack View to Edit View
Several methods are provided to switch from Multitrack View to Edit View. These include:
• Double-click on a waveform’s entry in the File tab of the Organizer Window. • Double-click on a wave block. • Select Edit Waveform… from a wave block’s right-click menu. • Select Edit Waveform View from Adobe Audition’s View menu. • Click on the left-most icon on the Adobe Audition File toolbar. • Press F12.

14 CHAPTER 2
Looking at the Work Area

Dockable Windows
If Adobe Audition’s default interface layout doesn’t quite meet the current needs of your project or screen resolution, you’ll be happy to know that many individual parts of the interface are dockable. This means that interface components like the Transport Buttons, the Time Display window, the Level Meters, and Rulers may be detached from their current location to float above Adobe Audition’s main window, or they may be repositioned and resized within the main window so they better suit your requirements. How can you tell if a part of the Adobe Audition interface is indeed a dockable window? Look for two thin vertical or horizontal lines – these lines are the “handle” (or grab bar) of a dockable window. Move your mouse over a handle, and your mouse cursor looks like a plus sign with arrows at each end. For quick reference, here’s a list of all Adobe Audition dockable windows:
• Organizer Window • Cue List • Play List * • Transport Buttons • Zoom Buttons • Time Window • Sel/View Controls • Level Meters • Placekeeper • Session Properties ** • Mixers Window ** • Track EQ Window ** • Track Properties ** • Load Meter ** • Video Window **

* (Available in Edit View only) ** (Available in Multitrack View only) Some docked windows may be resized. If resizing is possible, the docked window will have a single, thicker horizontal or vertical bar, known as a resize control. If your mouse moves over a resize control, your mouse cursor takes on the appearance of two lines with two arrows. Note: Even if the resize control is visible, resizing might not be possible due to the other windows that are in the row with the window you’re trying to resize.

ADOBE AUDITION 15 User Guide

To select a docked window, left-click when you’re over a handle. (Notice how the window becomes outlined when selected.) To move a docked window, select it and drag its hollow shape while holding down the left mouse button. As you move it around the Adobe Audition interface, two things will happen. If the outline of a dockable window retains its original dimension, releasing the left-mouse button will cause the window to “materialize” as its own standard floating window. However, if you notice the resize bar of another docked window “light up”, this designates a docking location. If this is where you’d like the dragged window to appear, release the left-mouse button and the window will snap into its new location. To close a docked window, right-click on its handle to see a pop-up menu with a Close option. Check this option and the window will disappear. Don’t worry if you change your mind, since you can bring back any closed dockable window by checking its name on Adobe Audition’s View menu. A docked window’s right-click menu also contains an option called Force New Row. If this item is checked, a new, empty row to dock windows is created. To move a floating window, left-click on its title bar and, while holding down the left mouse button, drag the window to the desired location. Close a floating window by left-clicking on the “X” control in its title bar. To dock a floating window, left-click and drag it while holding down the left mouse button. As you move it around the Adobe Audition interface, potential docking locations will appear; you’ll see the resize bar of dockable windows “light up” wherever docking is possible. If this is where you’d like the floating window to dock, release the left-mouse button and the window will snap into its new home. Press the Ctrl key while moving a floating window around to force it to not dock. That way you can float it over an area that it would normally try to dock to.

Placekeepers
Select Show a Placekeeper from Adobe Audition’s View menu to create a blank, dockable window called a “placekeeper”. Use it to more accurately define where you want a dockable window to be, especially for windows that are only useful when viewed in a certain aspect ratio. For instance, if you try docking the Track EQ controls above the Transport Buttons, they end up going underneath the whole session display, which creates a view that isn’t very useful (or aesthetically pleasing). You can use a placekeeper, though, on either side of the Track EQ window in order to force the EQ into a certain aspect ratio. Placekeepers can also be used just for appearance’s sake, just because you like the way they let you customize Adobe Audition’s look. Placekeepers may be inserted at any point in the Adobe Audition interface where docking is possible, and they automatically resize to fit their docked area. You can right-click within a placeholder window to select Squares to fill the placekeeper’s appearance. Check the Make Default item to make future placekeepers automatically adopt the current appearance.

at the press of a button. Note: To see what a toolbar button does. right-click on its grab bar and select Close from the pop-up menu. hold your mouse pointer over it to display a small “tool tip” that describes the function in simple terms. which appear near the top of the main interface. Toolbars Many of Adobe Audition’s most commonly used functions are represented as icons within toolbars. and help. .16 CHAPTER 2 Looking at the Work Area You can have up to four placekeeper windows. editing. The Edit View’s Edit Toolbar You can decide which sets of toolbar icons to display by going to View > Toolbars (or right-click on the toolbar area) and checking or unchecking the desired toolbar group(s). These icons give you instant access to effects. and more. file handling functions. Another option is to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row. viewing options. viewing properties. or three rows. as well as options. Drop-down Menus The Multitrack View’s Options drop-down Menu Adobe Audition’s drop-down menus offer quick and easy access to all session and audio file handling. two rows. Complete details about the commands found in both the Edit View and Multitrack View’s drop-down menus can be found later in this manual. each created with a click of the Show a Placekeeper command. and signal processing functions. To delete a docked placekeeper.

it’s dockable so you can reposition it at one of several places in the Adobe Audition interface. Double-clicking on a waveform in the Organizer opens it for editing in the Edit View. each into their own track. Insert Into Multitrack Push this button to insert all highlighted files. see a list of all open waveforms and MIDI files. Close File Pressing this button closes all of the files that are highlighted in the Files pane. and more. Or. tabbed window that allows you to easily open and close files. click on the “X” control in its title bar. Files Pane The Files Pane of the Organizer Window with Advanced Options displayed The Files Pane of the Organizer Window displays a list of open waveforms and MIDI files. or press the Alt+9 keyboard shortcut. The Organizer Window initially appears to the left of the Wave Display in Edit View or to the left of the Session Display in Multitrack View. check Show Organizer Window from Adobe Audition’s View menu. However. Here are its components: Open File Click on the Open File button to access Adobe Audition’s Open a Waveform dialog. Dragging and dropping a Wave or MIDI file into a track in the Multitrack View drops it in that track. in Adobe Audition’s Multitrack View. or press the Alt+9 hotkey.ADOBE AUDITION 17 User Guide Organizer Window Adobe Audition’s Organizer Window is a handy. To close the Organizer Window when it’s floating. To display it. The Organizer Window is hidden by default. you may detach it and have it float above Adobe Audition’s main window. choose effects with ease. To get rid of the Organizer Window when it’s docked. . you can simply uncheck the Show Organizer Window item on the View menu to close it in either docking or floating mode. right-click on its grab bar and select Close from the pop-up menu. Or.

4. and 5. or Recent Filename. Full Paths Push this button to display the full path [drive. The Effects Pane of the Organizer Window with Group By Category active . if no other waveforms are in the Multitrack View. Note: Should multiple files be highlighted. Note: Hold down the Shift key to select multiple contiguous files in the Files pane. holding down the Ctrl key allows you to highlight multiple non-contiguous entries. folder(s). each time into a separate track. Auto-Play When this button is pushed down. highlighting a file and pressing the Insert Into Multitrack button five times places the same file into tracks 1. Recent Type. 2. 3. Filename.18 CHAPTER 2 Looking at the Work Area Note: If you highlight a file and press the Insert Into Multitrack button multiple times. For instance. The listing includes all of Adobe Audition’s effects as well as all installed DirectX audio plug-ins. only the last file you clicked on will appear in Edit View. Display In Edit View Push this button to show a highlighted file in Adobe Audition’s Edit View. Advanced Options Depressing this button causes additional options to appear near the bottom of the Files pane. clicking a file’s name causes the file to begin playing. Push it again to show just the filenames. Sort By This control lets you decide how you want to sort the entries in the Files pane: Recent Access. that file is inserted the same number of times. filename] of the entries in the File pane. Dragging and dropping an Effect onto a track in the Multitrack View adds that effect to the track. Double-clicking on an Effect in the Organizer brings up the dialog to run that effect on the open waveform in the Edit View. Effects Pane The Effects Pane lists all of the effects at your disposal. Click on the appropriate box to toggle its view status. Show File Types You’re given the option to show or hide the display of Wave and/or MIDI files in the Files pane.

These are the areas where you’ll see sound visualized in an easy-to-manipulate form. respectively.ADOBE AUDITION 19 User Guide Group By Category With this control pushed down. Another push of the Group Real-Time Effects button returns the File Pane to its previous view. whether you’re modifying one waveform in Edit View or mixing dozens of discrete audio elements in Multitrack View. the list is shown as an Explorer-like hierarchical tree-type display. Wave Display/Session Display The Wave Display window (in Edit View) and the Session Display window (in Multitrack View) are the heart and soul of Adobe Audition. Categories and their entries are shown in the same order as they appear on Adobe Audition’s Effects menu. Favorites Pane The Favorites Pane lists all of the favorites you’ve created. Group Real-Time Effects When this control is pushed down. and the Multitrack Effects are grouped together. the Off-Line Effects are grouped together. where you can create new favorites. With the Group By Category button in the up position.) The Favorites Pane of the Organizer Window Edit Favorites Press this button to call up the Favorites dialog. (These are the same items that appear on Adobe Audition’s Favorites menu. More details about the Wave Display and Session Display windows can be found in the “Navigating the Edit View” and “Navigating the Multitrack View” chapters. or edit or delete existing Favorites. the list is shown as an Explorer-like hierarchical tree-type display. all effects are displayed in roughly the same order they appear on the Effects and Generate menus. where all of the Real Time Effects are grouped together. .

20 CHAPTER 2 Looking at the Work Area The Edit View’s Wave Display The Multitrack View’s Session Display Presets Many of Adobe Audition’s effects and other functions have presets that are available for easily storing and recalling your favorite settings. New presets can be added at any time. .

The Graph Control portion of the Dynamics Processing Dialog To work with an Adobe Audition graph control: • To add a control point to the graph. which is automatically sorted alphabetically. right click on the point to bring up the edit box. or double-click on the graph’s curve. To remove a preset from the list. By adding and moving control points on the graph. . then press Del immediately followed by Add. you may enter a name for your settings. and press the Add button. Your new preset is added to the list of other presets. • To enter the values for a control point numerically.ADOBE AUDITION 21 User Guide The Presets portion of the Amplify Effect’s Dialog Double-clicking on any preset will instantly set all controls in the dialog box to that preset. This will delete the old preset and add your current settings in under the same name. make your modifications. To modify an existing preset. Graph Controls Many of Adobe Audition’s effects use graph controls for adjusting parameters. choose the preset. Normally you wouldn’t want to do this as this can be confusing if the presets are different. you can tailor the effect to precisely meet your needs. Whenever you have settings you would like to keep. Note: Adobe Audition allows you to add two or more presets with the same name. and press Del. A dialog pops up. click in the grid at the location where you want to place the point. prompting you to name your new preset. double-click on the preset name.

stopping. The Transport Buttons are in a dockable window. Here’s what each transport button does: Stop Click on this button to stop the playback of a waveform or session. Adobe Audition will play the entire file or session from beginning to end. • Play Entire File: When this option is checkmarked. • Play from Cursor to End of View: Adobe Audition plays from the current cursor position to the end of the view. Note: When the mouse cursor is located over a control point. Play This button plays the portion of the wave or session that is currently being viewed (or that’s highlighted) from the current cursor position. recording. Or. The control turns into a Continue button when audio is paused. Pause Press this button to temporarily pause the playback or recording of audio. Or. Adobe Audition provides VCR-like transport buttons for playing. . you’ll see it change from an arrow to a hand. Play to End Clicking on this button plays the contents of the currently-visible waveform or session window. click on the “X” control in its title bar. You may also enable pause in Multitrack View by first holding down the Ctrl key and then pressing the spacebar to start playback. and then stops playback. regardless of the cursor position or view. Hitting the spacebar again will pause the playback of the multitrack session. you can even detach the Transport Buttons window and have it float above Adobe Audition’s main window. • To remove a point from the graph. fast forwarding. click and hold on the point and drag to a new location. allowing you to reposition them at several places in the Adobe Audition interface. <<CAPTION TO BE WRITTEN>> To close the Transport Buttons window when it’s floating. Right-click on the Play to End control to select from four behavior options: • Play View: Adobe Audition will play just the portion of audio you’re currently viewing from beginning to end. To get rid of the Transport Buttons window when it’s docked. Transport Buttons Just like many hardware-based audio recording and playback devices. click and hold on the point and drag it off the graph.) • Play from Cursor to End of File: Audio is played from the current cursor position until the end point of the file or session. right-click on its grab bar and select Close from the pop-up menu. Right-click on the Play button to select from four behavior options: • Play View: Adobe Audition will play just the portion of audio you’re currently viewing from beginning to end.22 CHAPTER 2 Looking at the Work Area • To move a point on the graph. (This is the default behavior for this button. pausing. simply uncheck the Show Transport Buttons item from the Edit menu to close it in either docking or floating mode. and rewinding your waveforms and sessions.

looping fashion. The Level Meters are in a dockable window. the audio file will be played back at a lower volume as it shuttles over the waveform or session. (This is the default behavior for this button.) • Play Entire File: When this option is checkmarked. it will loop just the area of the waveform or session that’s currently viewed or highlighted. This function supports scrubbing. Any waveform data after this point will be recorded over.) In Multitrack View. Fast Forward Pressing this button shuttles the playbar cursor forward in time. Loop View (or Selection) is the default option. (Timed Record lets you use Adobe Audition as an automated. Go to Beginning Press this button to place the playback cursor at the beginning of the waveform or session. This means that on some sound cards. Right-clicking on the Fast Forward button allows you to set the rate at which the cursor will move. Right-click on the Record button to select from different behavior options. a new take is created on each looping. which vary depending on whether you’re in Edit View or Multitrack View: In Edit View. Rewind Click on this button to shuttle the playbar cursor backwards in time. you have three options: Continuous Linear Record (the default). Right-click on this button to change its behavior. Record This button starts recording from the current playbar cursor position. Level Meters The Level Meters (which by default are near the bottom of both Adobe Audition’s Edit View and Multitrack View windows) display both record and playback levels. regardless of the cursor position or view. regardless of how much is being viewed. you can switch between Instant Record (the default) and Timed Record modes. If areas are marked for Punch In (i. Adobe Audition will play the entire file or session from beginning to end. • Play from Cursor to End of File: Audio is played from the current cursor position until the end point of the file or session. . This means that on some sound cards. Right-clicking on the Rewind button allows you to set the rate at which the cursor will move. the last two options allow for looping while recording.e. time-shifting recording device. Since the Play Looped button itself only applies to playback.. the audio file will be played back at a lower volume as it shuttles over the waveform or session. Go to End Click this button to place the playback cursor at the end of the waveform or session.ADOBE AUDITION 23 User Guide • Play from Cursor to End of View: Adobe Audition plays from the current cursor position to the end of the view. Checkmark Loop Entire (or Selection) to have Adobe Audition loop the entire waveform or session (or just the highlighted portion). allowing you to reposition it at one of several places in the Adobe Audition interface. Play Looped This button plays the contents of the currently-visible waveform or session window in a continuous. you can even detach the Level Meters window and have it float above Adobe Audition’s main window. and Loop While Recording (Entire). the Allow Multiple Takes option is checked on a Wave Block’s right-click menu). Loop While Recording (View). Or. This function supports scrubbing.

incoming audio is greater than 0dB).e. if Show Valleys is chosen. You may also click on the Clip Indicators (at the right edge of the Level Meters) to clear them. .5 seconds before resetting to allow for reading of the peak amplitude. Yellow peak indicators will “stick” for 1. To close the Level Meters window when it’s floating.. the dynamic range is high. Or. If they’re spread far apart. the range of the Level Meters is 120 decibels. where a level of 0dB is the absolute maximum before clipping occurs. Show Valleys Just as the yellow indicators show peak levels. To get rid of the Level Meters window when it’s docked. but a little above or below it. Right-click on the Level Meters window to call up a menu with metering options: Monitor Record Level This option activates the Level Meters and starts monitoring the recording source. valley levels (minimum amplitudes) will be marked as well. and display the true amplitude of the signal in decibels. To stop monitoring. Adjust for DC Many sound cards record audio with a slight DC offset. This is useful for setting input levels before recording. 120dB Range With this option checked. Note: The clip indicators will always light if clipping occurs. When displaying stereo audio.24 CHAPTER 2 Looking at the Work Area Level Meters The incoming signal from your selected sound card(s) is represented as the peak amplitude in decibels. right-click on its grab bar and select Close from the pop-up menu. press the Stop control or tap your spacebar. Show on Play and Record Selecting this option causes the Level Meters to operate during the playback or recording of audio. This can dramatically throw the level meters off since the amount the waveform is displaced could be interpreted as a constant sound that loud. Clear Clip Indicators If clipping occurs (i. and the bottom. you can simply uncheck the Show Level Meters item on the View menu to close it in either docking or floating mode. the clip indicator to the right of the meter will light up. which means that the center of the waveform being recorded is not at the exact center of the waveform display. If the valley indicators are close to the peak indicators. This gives a good indication of the dynamic range of the audio. You can also start and stop monitoring by double-clicking on the Level Meters. the right. then the Level Meter’s red lights come on and stay on until cleared. Choose this option to reset the red lights. Clicking on the clipping indicator at any time resets it. click on the “X” control in its title bar. but if Adjust for DC is enabled. If clipping does occur. and remain lit. the dynamic range – the difference between the quietest and loudest sounds – is low. The recording meters will dynamically adjust to the DC offset. the top meter represents the left channel. To compensate. the indicators may light up when the audio has a DC offset. make sure this menu item is checked.

playing. Having Static Peaks selected is great for finding out how loud a song will get before recording it. allowing you to reposition it at one of several places in the Adobe Audition interface. Dynamic Peaks Choosing Dynamic Peaks causes the yellow peak level indicators to reset to a new peak level after 1. This lets you easily see the peak amplitude “right now”. 60dB Range This option causes the Level Meters to have a range of 60 decibels. the peak indicators will show the volume of the loudest part of the song. the Level Meters have a range of 45 decibels. or zoom out to get a complete visual overview of the entire waveform or session. Static Peaks With this option selected. To get rid of the Zoom Buttons window when it’s docked. click on the “X” control in its title bar. 45dB Range When you choose this option. To close the Zoom Buttons window when it’s floating. 75dB Range Click on this entry to display a range of 75 decibels in the Level Meters. This lets you retain the maximum amplitude of the signal since monitoring. When the song is over. Zoom Out Click this button to zoom out from the center of the visible waveform window or session. 30dB Range Checking this item gives the Level Meters a range of 30 decibels. you can even detach the Zoom Buttons window and have it float above Adobe Audition’s main window. You can zoom in down to the point where the sample of each waveform can be clearly seen. Zoom Out Full Click this button to zoom out to display the entire waveform or blocks that are contained within a session. The peak can still be reset manually at any time by clearing the clip indicators (clicking on the clip indicator at the right).ADOBE AUDITION 25 User Guide 90dB Range Select this option to have the Level Meters display a range of 90 decibels. Just start the meters and start playing the song. Or. the peak levels never reset. Zoom Buttons The Zoom Buttons window is a dockable window. or recording began. right-click on its grab bar and select Hide from the pop-up menu. As the audio gets quieter. Zoom Buttons Adobe Audition’s Zoom Buttons allow you to zoom in or out of the Wave Display or Session Display. . Zoom to Selection Click this button to zoom in on the actively selected waveform or session range. you can simply uncheck the Show Zoom Buttons item on the Edit menu to close it in either docking or floating mode. the peak indicators start backing off.5 seconds. Or. The following items are included within Adobe Audition’s Zoom Buttons: Zoom in to Center Click this button to zoom in on the center of the visible waveform window or session.

clicking this button decreases the vertical scale resolution of a waveform’s amplitude display. Sel/View Controls The Sel/View Controls window (Sel is an abbreviation for Selection) shows the beginning and ending points. click on the “X” control in its title bar. To close the Time Window when it’s floating. Time Window Adobe Audition’s Time Window displays the current position of the playback cursor. Zoom to Right Selection Click this button to zoom in on the right-hand boundary of the actively selected waveform range or session. so you can reposition it at one of several places in the Adobe Audition interface. but this can easily be changed by right-clicking on the Time Window and choosing another option. such as Compact Disc. clicking this button increases the vertical scale resolution of a waveform’s amplitude display. You may also detach the Time Window and have it float above Adobe Audition’s main window. Vertical Zoom Out In Edit View. Left-click on any one of the individual value windows to directly enter numeric time display data. in Multitrack View. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second). as well as the total length of both the selection and the section of the waveform or session that’s currently viewed. Or. A subsequent rightclick calls up a copy/paste and options selection box. Sel/View Controls . Bars and Beats. right-click on its grab bar and select Close from the pop-up menu. Both the selection and display range is shown using the current time display format (which is selected in View > Display Time Format). or one of several SMPTE values.26 CHAPTER 2 Looking at the Work Area Zoom to Left Selection Click this button to zoom in on the left-hand boundary of the actively selected waveform range or session. Time Window The Time Window is dockable. just uncheck the Show Time Window item on the View menu to close it in either docking or floating mode. clicking this button shows more tracks. in Multitrack View. Vertical Zoom In In Edit View. To get rid of the Time Window when it’s docked. clicking this button decreases the number of viewed tracks in the Session Display. Samples.

This data is computed at the precise point where your mouse cursor is placed within the wave display. Example: If you see “R: -15. this means that your cursor is over the right channel at 0. you’ll see even more beneficial data such as Pan and Volume envelope positions. If you see “308 K” in the status bar. Sample Format When this item is checked. and changes dynamically when the mouse cursor is moved. Or. A typical display might be “7028. For instance.ADOBE AUDITION 27 User Guide Since Sel/View Controls is a dockable window. In the Multitrack View. Status Bar Right-click on the Status Bar to show a menu of display options (which are described below). a 44. To get rid of the Sel/View Controls window when it’s docked. Free Space (K) This option lets you see how much space is available on your hard drive. and the time (hours:minutes:seconds:hundredths of seconds) from the beginning of the audio file.32 MB free”.242 seconds into the waveform. Status Bar The Status Bar window runs along the very bottom of Adobe Audition’s main window. File Size (K) This value represents how large the active audio file is. sample information about the currently loaded waveform is displayed. . you can reposition it at one of several places in the Adobe Audition interface. then the current waveform is 308 kilobytes (KB) in size. measured in kilobytes. To close the Sel/View Controls window when it’s floating. “0:01:247” means the sound file is 1. the amplitude (measured in dB). and the amplitude at that precise point is –15. uncheck the items you don’t want to see. It can display information such as sample format.247 seconds long.2dB @ 0:00:242” in the status bar when in Edit View. Check the items you wish to display. and free disk space. right-click on its grab bar and select Close from the pop-up menu. dynamic effect settings. You may also access Status Bar options from Adobe Audition’s View menu. Data Under Cursor This shows useful information such as the channel (if a current waveform is stereo). You may also detach the Show Sel/View Controls window and have it float above Adobe Audition’s main window.2 decibels. For instance. file size. and the current position of the wave block as you drag it around.100 kHz 16-bit stereo file shows up as “44100 – 16-bit – stereo”. envelope positions for effects envelopes. click on the “X” control in its title bar. File size (time) This figure tells you the length (measured in time) of the current waveform. you can simply uncheck the Show Sel/View Controls item on the View menu to close it in either docking or floating mode.

try using the Files tab of Adobe Audition’s Organizer window.28 CHAPTER 2 Looking at the Work Area Free Space (time) Check this item to have Adobe Audition display the amount of available time left for recording. only the last 10 opened will appear on the Windows menu. Click on a file’s name to make it the active file in the Wave Display. if Adobe Audition is set to record an 8-bit mono waveform at 11. Switch To Window Note: If you have a waveform open that has a cue range in it. or press the Alt+9 keyboard shortcut. and the remaining time value becomes “680:44. Switch To Access the Switch To… command to show a list of all open files. there will be a + sign next to its name.527 free”. Click on the + sign to expand the entry so you can jump directly to any of the cue ranges it includes. Window Menu – Edit View When you’re working in Edit View mode. .025 kHz. seconds. Think of this section of the Windows menu as a MRU (“Most Recently Used”) list of open waveforms. Currently Open Waveform List Entries for up to 10 open waveforms are listed. This value is shown as minutes. To activate the Organizer window. use the Switch To… command or Adobe Audition’s Organizer window. the Window menu gives you a simple way to switch between open files. For instance. based upon the currently selected sample rate. Change the recording options to 16-bit stereo at 44. the time left might read something like “4399:15. Instead of using the Window menu. and thousandths of seconds. go to the View Menu and click on Show Organizer Window.100 kHz. Note: If you have more than 10 waveforms active.736 free”. If you need to access another open waveform whose name isn’t listed. and Alt keys shown in the status bar. Keyboard Modifiers Select this option if you wish to have the status of your keyboard’s Ctrl. Shift.

it’s at the price of a bit more distortion than the original 16-bit audio. Options Choose from the following: • A-Law 8-bit is a slight variation of the standard mu-Law format. While A-law and mu-Law encoded waveforms have a higher signal-to-noise ratio than 8-bit PCM. 64-bit doubles (RAW) (. Note: If you want to load from or save to a format that’s not listed here. The sample rate is assumed to be 22050Hz. and is found in European systems. and is the default option. To do this. These encoding formats compress the original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13-bits (78 dB). Some of these formats will have options.dbl) This format is 8-byte doubles in binary form – 8 bytes per sample mono. Note: Files saved in this format will automatically be expanded to 16-bits when loaded.sam extension is assumed to be 8-bit signed raw data with no header. or 16 bytes per sample stereo interleaved.wav) The A-Law and mu-Law formats (CCITT standard G. arranged in the order they appear in Adobe Audition’s Save Waveform As dialog. 8-bit signed raw format data with the . so look for the Options… button to be enabled in Adobe Audition’s Save Waveform As dialog. so you should not save to this format from 8-bit. you may be able to use an ACM Waveform codec to do so. A/mu-Law Wave (. click on Options…. Just as raw PCM has no header and is just audio data. and try to find the format you want to use. since audio in MOD files is 8-bit signed.711) are common in telephony applications. 8-bit signed (. Still.29 Chapter 3: Wave File Formats Supported by Adobe Audition T he following is a list of the various wave file formats that Adobe Audition currently supports. Many MOD editors allow samples to be inserted from files. but the actual sample rate can be changed once the file is loaded using Edit > Adjust Sample Rate. or exported to files in this format. so does the 64-bit doubles format. .sam) This format is popular for building MOD files. the quality is higher than you would get with some 4-bit ADPCM formats. When exporting to an ACM format. • mu-Law 8-bit is the international standard telecommunications encoding format. use File > Open As or File > Save As. you may first need to use Edit > Convert Sample Type to convert the file to a format supported by the ACM codec.

30 CHAPTER 3 Wave File Formats Supported by Adobe Audition ACM Waveform (. The available ACM formats are displayed in the Choose ACM Format dialog that appears when you press the Options… button on the Save Waveform As dialog. resolution. No Dithering is the default.aif. For example. the file will be saved using the compressed 4-bit Fibonacci Delta encoded format. • Save As: Click this button to save additional preset format/attribute combinations. Three are provided initially: CD. etc. you should first use Edit > Convert Sample Type to convert the file to 8KHz/mono/16-bit. even though this format (like Windows WAV) can contain any one of a number of data formats. if you want to save a file in the DSP Group TrueSpeech format. Note: The ACM driver you want to use may require that the file be in a specific format before saving. and a wide range of sample rates. Note that this list will display only those formats that are compatible with the current waveform’s properties (stereo/mono. Radio. etc.iff.snd) This is Apple’s standard wave file format. • Dithering from 16-bit: If you’re saving from a 16-bit file. • Attributes: The available attributes will depend on the original attributes of the file (sample rate. Noise Shaping A. Options Choose from the following: • Data Formatted As 8-bit Signed: Check this option to save the audio file in uncompressed 8-bit Signed format. or Noise Shaping B. AIFF files support mono or stereo. Amiga IFF-8SVX (. • Filter is the ACM format you wish to save in. • Data Formatted As 4-bit Fibonacci Delta Encoded: With this selection made. Like Windows WAV. contact the creator of the format (such as DSP Group for TrueSpeech.). . . Adobe Audition only supports the PCM encoded portion of the data. Shaped Gaussian Dither. Options Set the following: • Name displays the name of any saved format presets. or CCITT for the various CCITT formats) or the manufacturer of the hardware that uses the format in question. which is the default. Apple AIFF (.wav): Nearly any file format supported by the Microsoft Audio Compression Manager (ACM) can be loaded or saved in Adobe Audition. choose the type of dithering you wish: Triangular Dither. and Telephone Quality. 16-bit or 8-bit. A variety of sample rates are supported. because that’s the only format supported by the TrueSpeech ACM driver. For more information on any particular ACM driver.) and the Filter chosen. • Write as RAW Data: Check this box to save the waveform as RAW data.svx) The Amiga 8SVX format is an 8-bit mono format from the Commodore Amiga computer. .

though.cel file also works to avoid a problem with MP3 files. add the . CHANNELS.wav file and is set under View > Wave Properties > Loop Info.) ASCII Text Data (.aif or .0 and 1. . When working with a loop. with each sample separated by a carriage return. just as it’s saved with a . Audition Loop (. The first is the loop info. and stretch method.snd extension to the file and load it using the Apple AIFF file filter.cel) Audition Loop files are essentially MP3 files with a .cel extension.txt) Audio data can be read to or written from files in a standard text format. and channels separated by a tab character. Before you open AIFF files in Adobe Audition. • Normalized Data normalizes the data between -1. Options Choose any of the following: • Include Format Header places a header before the data. tempo. BITSPERSAMPLE. SAMPLERATE. SAMPLES: 1582 BITSPERSAMPLE: 16 CHANNELS: 2 SAMPLERATE: 22050 NORMALIZED: FALSE 164 <tab> -1372 492 <tab> -876 etc. This includes number of beats. For example. and often only a few samples long.0.. The values for NORMALIZED are either TRUE or FALSE. it’s enough to throw the entire loop off. An optional header can be placed before the data. and NORMALIZED. you can add the four character code “AIFF” in the file’s resource fork to have it recognized (The Macintosh identifies a file through its “resource”. key. then the data is assumed to be 16-bit signed decimal integers. It’s in the nature of MP3 files that a very small amount of silence is added to the beginning and/or end of an MP3 file when it’s encoded. When transferred to a Mac. This is very short. many Mac applications that support AIFF can recognize the PCM data without this identifier. which is stripped away when a file is opened on a PC. If there is no header text. However. The .ADOBE AUDITION 31 User Guide The AIFF format is a good choice for PC/Macintosh cross-platform compatibility. but with a header that contains two important items.. The header is formatted as KEYWORD: value with the keywords being: SAMPLES.

VOC files can contain information for looping and silence. when Adobe Audition loads a .com for more information.dw. Creative Sound Blaster (. • New Style allows you to save to the newer . It will only save mono 16-bit audio.voc file supports both 8-bit and 16-bit audio. Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the .cel file. Then. as you’ll need to enter it upon reopening the file.32 CHAPTER 3 Wave File Formats Supported by Adobe Audition As it saves a .voc file that can be played on any Sound Blaster card. When opening VOX files.1 kHz.cel file.mp3) files. .vox) The Dialogic ADPCM format is commonly found in telephony applications.voc format that supports both 8-bit and 16-bit audio.dwd) This is the audio format used by DiamondWare’s Sound Toolkit.cel header. Note: Take note of the sample rate of your audio before saving as Dialogic VOX. Dialogic ADPCM (. If the file you’re loading contains loops and silence blocks. and stereo to 22 kHz. See http://www. you’ll be prompted for a sample rate unless Don’t ask for further details is checked in the Open a Waveform dialog. DiamondWare Digitized (. which are documented later in this chapter. so any file format with the extension . The older .vox will be assumed to be in this format. and like other ADPCM formats. and has been optimized for low sample rate voice. The newer type of . Adobe Audition supports both old and new style . Options The file saving options are identical to the ones for mp3PRO® (. This format has no header.voc) This is the Sound Blaster and Sound Blaster Pro voice file format. a programmer's library that lets you quickly and easily add high quality interactive audio to games and multimedia applications. Options Choose one of the following: • Old Style saves your audio as an 8-bit . they’ll be expanded while loading. it compresses to 4-bits/sample (for a 4:1 ratio).voc format only supports 8-bit audio.voc files. It supports both mono and stereo files at a variety of resolutions and sample rates. it reads this silence information and automatically removes the silence from the file so that it’ll loop smoothly. mono to 44.

it’s best to save to this format from a 16-bit waveform rather than 8-bit. which can produce either better or worse results depending on the sample being compressed. • Multiple Pass compresses files using multiple passes. 3.98:1. with a compression ratio of 3.ADOBE AUDITION 33 User Guide DVI/IMA ADPCM (. . each with a different compression ratio and quality level. this compression rate is less compatible than the standard 4-bit. especially stereo files. The time taken to read an ADPCM compressed file is the same no matter which option you choose. and it degrades sample quality only slightly. but because the compression ratio is a bit smaller (3. Files saved in this format will automatically be expanded to 16-bits when loaded. and has different distortion characteristics. your files will be slightly larger than with the Large option. For this reason. the quality will be lower than if you use the Multiple Pass option. with an increased quality level.wav files with the highest compression ratio (8:1).3:1 -. but not quite as good as the 4 and 5 bits choices. • 3 bits/sample. This compression scheme can be a good alternative to MPEG.81:1). • 4 bits/sample. Use this option if you’re in a hurry. but with the lowest number of bits. Microsoft ADPCM (. which provides 4:1 compression. However. This is the default setting. and may not be able to be played back on all systems. it provides reasonably fast decoding of 4:1 compression.Use this option for the best quality. regardless of their original resolution.wav) The Microsoft ADPCM format consists of 4-bit per channel compressed data. • Small (High Quality) offers the best quality ADPCM sound at a trade-off of larger files due to the smaller compression ratio (3. Some systems might have problems playing back files compressed with this option. since more bits and a lower compression ratio are used. However. which produces 4-bit files at a compression ratio of 4:1.wav) The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4 bits/sample (4:1) using a different (faster) method than Microsoft ADPCM. • Medium (Good Quality). As with Microsoft ADPCM.25:1). and may not work on all systems. Options Choose from the following: • 2 bits/sample. which provides better quality. Keep in mind that this compression rate is less compatible than the standard 4-bit. it’s best to save to this format from 16-bit rather than from 8-bit. • Block Size offers three size options. Quality is better than with the 2 bits option.The 3-bit ADPCM files produced with this option use a compression ratio of 5.2:1 -. as the quality will be much greater. • Large (Default Quality). 8:1 • This option creates ADPCM .This is the default option. Options Choose from the following: • Single Pass compresses files in a single pass. • 5 bits/sample. 5. 4:1 -.3:1. Select this option when smaller file size is more important than audio quality.

2 = forward/back loop. which can be edited using Adobe Audition’s Cue List. For details.smp) The SampleVision format is used by Turtle Beach’s SampleVision program. non-pro mp3s by unselecting the “pro” setting in the mp3 options. If your data is in a different format.com. hard drives. intranets and/or other networks). . and for inclusion in Java applications and applets. Like Windows WAV and AIFF files. other content distribution systems (pay-audio or audio-on-demand applications and the like) or on physical media (compact discs. satellite.mp3 file is opened. • G. semiconductor chips. Add the cue range to the Play List.mp3 files.snd) This format is the standard found on NeXT and Sun computers. which means that you can save standard. SampleVision (. The most common use for the AU file format is for compressing 16-bit data to 8-bit mu-law data. G.721 ADPCM. AU is used quite extensively for distribution on the Internet. this format can support mono or stereo. When a file is saved as MP3. you’ll be asked to convert it before saving.721 ADPCM 4-bit uses the CCITT G. Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue-generating broadcast systems (terrestrial. 16-bit or 8-bit. An independent license for such use is required. memory cards and the like). streaming applications (via Internet. Adobe Audition supports the CCITT mu-Law. This format also supports loop points. Note: The mp3PRO filter encapsulates standard mp3 file support. and linear PCM data variants. m where n is the loop number from 1 to 8. Options Choose from the following: • mu-Law 8-bit compresses the file using the mu-Law 8-bit format. Next/Sun (. The Label of the cue must be in the format Loop n. . and has many data types. (This is the default. Check your online documentation and help for details on the options for saving mp3PRO.721 (ADPCM at 32 kbits/second) to compress the file. A-Law. it’s encoded and compressed as specified by the MP3 settings.mp3) The mp3Pro filter enables Adobe Audition to directly encode (save) and decode (open) . • Linear PCM saves the file as uncompressed linear PCM.mp3 file back to disk as any file format (including as a standard . Adobe Audition’s Play List is used to enter the number of times to loop the cue range. 1 = forward loop. digital versatile discs. This allows you to save the . As an . and then enter the number of times to loop.) • A-Law 8-bit uses the A-Law 8-bit format to compress the file. please visit http://mp3licensing. and a wide range of sample rates when saved as linear PCM. It supports only mono 16-bit audio.34 CHAPTER 3 Wave File Formats Supported by Adobe Audition mp3Pro® (.wav file). cable and/or other distribution channels). it’s decompressed into Adobe Audition’s uncompressed internal format.au. and m is the mode: 0 = no looping.

it’s decompressed into Adobe Audition’s uncompressed internal format. but read the same value back if it’s beyond this range.wav file). then save without dither enabled in the file format options.0. Any type 1 format with BlockAlign set to 3 bytes per channel is assumed to be packed integers.wma file is opened.wav BitsPerSample field is set to 24 and BlockAlign is set to 3 bytes per channel. The . Check your online documentation and help for details on the options for saving Windows Media Audio files.wav BitsPerSample field is set to 20 and BlockAlign is set to 3 bytes per channel. depth 1. it’s encoded and compressed as specified by the . • Enable Dithering will dither 32-bit files when saving to a PCM format (20-bit. or with actual data. The dither used is a Triangular dither. but generally analog/digital converters that generate 20 bits of valid data automatically set the remaining 4 bits to zero. and a BitsPerSample field between 17 and 24 inclusively will read in all 24 bits and assume the remaining bits are either accurate or set to zero. It follows the RIFF (Resource Information File Format) specification. 24-bit. or 32-bit). Floating point values are in the range of +/- 32768. • 32-bit 16.0. This allows you to save the .wav) The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions and sample rates.wma files. If you wish to apply a noise shaped dither. (Adobe Audition will not clip. The . some programs may clip when reading them back in.24 normalized float (type 3 – 32-bit) is the standard floating point format for type 3 . with no noise shaping. WAV files contain PCM coded audio – which is pure. and allows for extra user information to be embedded and saved with the wave file. • 24-bit packed int (type 1 – 20-bit) saves straight 24-bit integers (so any data beyond the bounds is clipped). The . • 32-bit int (type 1 – 32-bit) saves 32-bit audio as 32-bit integers. and are used when reading (thus still giving 24-bit accuracy if those bits were actually present when writing). This option is only available if you have a 32-bit file and you select to save it as a nonfloating-point type format.wav BitsPerSample field is set to 24 while BlockAlign is still set to 4 bytes per channel.wma) The Windows Media Audio filter enables Adobe Audition to directly encode (save) and decode (open) . The extra 4 bits that are saved are actually the remaining valid bits when saving.0 float (type 1 – 24-bit) saves full 32-bit floats (in the range of +/-8million).8 float (type 1 – 32-bit) is Adobe Audition’s internal format.wav files.wav BitsPerSample field is set to 32 and BlockAlign is set to 4 bytes per channel. Windows Media Audio(.wma file. • 32-bit 0. Options These formatting options are available only to 32-bit files. When a file is saved as a . but larger and smaller values are valid and not clipped since the floating point exponent is saved as well. they’ll be disabled (“grayed-out”) at other times: • 32-bit 24. use Edit > Convert Sample Type… to dither the audio first.ADOBE AUDITION 35 User Guide Windows PCM (.) • 24-bit pack int (type 1 – 24-bit) saves straight 24-bit integers so any data beyond the bounds are clipped.0 and although values above and below this range are saved.wma file back to disk as any file format (including as a standard .wma settings. but the . As a . . uncompressed Pulse Code Modulation formatted data. Applications should either fill those last 4 bits with zeros. Values are normalized to the range +/-1.

(The input data of 32-bit files may be offset by +2 or +3 bytes as well. and Voilà! – you’ve read in a wave in an unknown format. Once the waveform is loaded and sounds fine. resolution. By opening audio data as PCM. the waveform may sound incorrect (in different ways. .raw) This format is simply the PCM dump of all data for the wave. Options Choose from the following: • Data Formatted As 16-bit PCM (LSB. or sometimes throughout. When guessing at these parameters upon opening.DAT header on save writes a header to a separate . No header information is contained in the file. You can also interpret the data as A-Law or mu-Law compressed. you’re asked to select the sample rate. With this option you’ll be able to offset the input data by +1 byte if desired. • Create . you may hear clicks at the start. and number of channels upon opening. • Data Formatted As 8-bit A-Law Compressed saves data in 8-bit A-Law compressed format.36 CHAPTER 3 Wave File Formats Supported by Adobe Audition PCM Raw Data (. you can interpret almost any audio file format – but make sure you have some idea about the sample rate. With this option you’ll be able to offset the input data by +1 byte if desired. number of channels. For this reason. LSB) saves as an uncompressed 16-bit PCM file with the Most Significant Bit first and the Least Significant Bit last. Just cut these out. etc.pcm) (. These clicks are various header information being interpreted as waveform material. depending on which parameters you have mixed up).dat file to make reloading the file easier.) • Data Formatted As 16-bit PCM (MSB. (32bit files can have input data offset by +2 or +3 bytes as well.) • Data Formatted As 8-bit mu-Law Compressed saves PCM data in 8-bit mu-Law compressed format. end. MSB) saves data formatted as an uncompressed 16-bit PCM file with the Least Significant Bit first and the Most Significant Bit last.

Note: Interface components that are common to both Edit View and Multitrack View (such as the Level Meters and the Transport Buttons) are documented in the “Looking at the Work Area” chapter. while all of the items referenced on the Edit View’s drop-down menus are explained in the Edit View menu chapters. Most of this chapter will concentrate on the largest portion of the Edit View: the Wave Display.37 Chapter 4: Navigating the Edit View E dit View is one of Adobe Audition’s two major workspaces (Multitrack View is the other). About Edit View The following is a typical layout for Adobe Audition’s Edit View Screen: A typical Edit View screen with the Organizer Window open . from delay effects like echoes and reverbs. play. convert. A wealth of effects are at your disposal. to advanced functions such as noise reduction and dynamics processing. The Wave Display is the area where waveforms are visualized and modified. and edit single waveforms…and lots more. Use Edit View to record.

. A stereo waveform The total height of the Wave Display window is utilized for mono waveforms. whether you can see it all or not. The mouse cursor will acquire a boxed “L” when you do this. and drag the boundary to its new location. Switch between the two methods using Adobe Audition’s View menu.38 CHAPTER 4 Navigating the Edit View Stereo vs. A mono waveform Navigating the Wave Display The following movements are crucial to navigating the Wave Display window: Defining a Range Left-click on one side of the range portion you want to select and drag left or right. Waveform View/Spectral View The Wave Display offers two ways to represent audio data: Waveform View and Spectral View. the Wave Display is split horizontally. Selecting Only the Left Channel Click near the top of the left (upper) channel to select the left channel only. Mono If a stereo waveform is loaded. Select All Double-click in the Wave Display to select all of the waveform you currently see. Selecting Only the Right Channel Click near the bottom of the right (lower) channel to select the right channel only. Triple-click in the Wave Display to select the entire waveform. The waveform’s left channel appears at the top of the window while the right channel is at the bottom. Changing Range Boundaries Hold down the Shift key and left-click on the range boundary you want to move. The mouse cursor will acquire a boxed “R” when you do this.

and the y-axis is time. is at the top of the Wave Display – to scroll forwards and backwards in time throughout a waveform.ADOBE AUDITION 39 User Guide • Waveform View – which is Adobe Audition’s default – displays audio data drawn as a series of positive and negative peaks. The same 15-second stereo .wav file displayed using Spectral View Horizontal Portion Bar Use the Horizontal Portion Bar – which. Horizontal Portion Bar • Left-click and drag the little hand over the Horizontal Portion Bar’s “handle” to scroll time-wise through the waveform. A 15-second stereo . the brighter the displayed color will be. The greater a signal’s amplitude component within a specific frequency range. where the x-axis is frequency. by default. This allows you to analyze your audio data to see which frequencies are most prevalent. . It can also be used to zoom in and out horizontally in the Wave Display.wav file displayed using Waveform View • Spectral View displays a waveform by its frequency components. and the y-axis (horizontal) represents time. Colors range from dark blue (which means that next to no amplitude components exist in this frequency range) to bright yellow (meaning that frequencies in this range are high in amplitude). Spikes in the x-axis (vertical) indicate increased amplitude.

and Zoom Full. • Right-click on the Horizontal Ruler and drag to select an area to zoom in on. Check the snapping behavior(s) desired. The menu also has options for moving the Horizontal Portion Bar to the bottom of the Wave Display. Horizontal Ruler • Left-click on the Horizontal Ruler and drag the little hand over the ruler to scroll time-wise through the session. Zoom In to Left Edge of Selection. The zoom in occurs when the right mouse button is released. minutes. Display Time Format This submenu allows you to choose the time format the Horizontal Ruler uses. • Right-click anywhere on the Horizontal Ruler to call up a menu with several options. and Zoom In to Right Edge of Selection. It measures time in the same format specified in the View > Display Time Format menu (which is hours. Zooming Six zoom commands are provided here: Zoom In. Moving the magnifying glass to the left zooms in. Vertical Ruler . Zoom Full. Snapping Snapping allows the edges of any block to “snap” to certain time locations when being dragged. Zoom to Selection. and seconds by default). while moving it to the right zooms out.40 CHAPTER 4 Navigating the Edit View • Left-click and drag the magnifying glass (which appears when your mouse passes over the edge of the Horizontal Portion Bar’s “handle”) to change the viewable range of the Wave Display. Zoom Out. Horizontal Ruler The Horizontal Ruler runs along the bottom of the Wave Display and acts as a timeline. Zoom Out. Vertical Ruler The Vertical Ruler – at the right edge of the Wave Display – shows the relative amplitude of a waveform over time. • Right-click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options: Zoom In. as well as returning it to its default position at the top of the Wave Display.

5 Edit as needed. bit resolution. Note: You may need to adjust your input signal to obtain the optimum recording and signal-to-noise levels. 2 Select the sample rate. and Decibels – by doing one of the following: • Right-click on the Vertical Ruler to switch display formats from a pop-up menu. but it can easily be switched to three other types – Normalized Values. You can record from a microphone.ADOBE AUDITION 41 User Guide By default its display format is set to Sample Values (the exact sample value of the audio data). • Zoom Full: Zooms out the vertical scale resolution of a waveform’s amplitude display completely.) To record in Edit View. • Double-click on the Vertical Ruler to cycle through all of the display formats. a MIDI source. 1 Use File > New to create a new file. click on the Stop button in the Track Controls window. • Right-clicking on the Vertical Ruler calls up a menu that not only lets you choose one of the aforementioned display formats. (For most folks this is done using the Windows Mixer. and number of channels (stereo or mono) that you want to use and press OK. • Go to Adobe Audition’s View > Vertical Scale Format menu and make a selection. but provides three Zoom options: • Zoom In: Decreases the vertical scale resolution of a waveform’s amplitude display incrementally. 4 When you’re done recording. or any signal you can plug into the “Line in” port of your sound card. • Zoom Out: Increases the vertical scale resolution of a waveform’s amplitude display incrementally. Recording in Edit View Recording with Adobe Audition in Edit View is easy. . the vertical scale is always in Hertz (Hz). • Right-clicking and dragging over the Vertical Ruler automatically zooms the waveform window to show only the specified amplitude scale. Percentage. Note: When the wave display is set to Spectral View. The Vertical Ruler also provides access to the following display options: • Left-clicking and dragging the little hand vertically over the Vertical Ruler allows you to scroll through Adobe Audition’s visible amplitude ranges that might extend beyond the traditional amplitude scale values. 3 Click on the Record button in the Track Controls window to begin recording. and then save your recording to disk using File > Save As. your computer’s CD player.

42 CHAPTER 4 Navigating the Edit View Wave Display Right-Click Menu Right-click in the Wave Display window to bring up a menu with several useful commands. Note: While Adobe Audition can use the Windows clipboard for cut and paste operations. or it replaces the currently highlighted data. it puts five such “super clipboards” at your disposal. the entire current waveform is inserted. by default it uses its own internal clipboard which is faster and more suitable for working with large waveforms. or highlighted part of the waveform. you can change the behavior of your mouse’s right-click button in the Wave Display. Otherwise. the current clipboard must be set to Windows. Either way. Select View This command selects the contents of just the Wave Display area that you’re viewing. or highlighted part of the waveform. Wave Display Right-Click Menu Note: By going to Options > Settings. Adobe Audition automatically converts it before pasting. You’ll find that using these shortcuts for frequently used commands will speed up the editing process considerably. this means you’ll then need to hold down the Ctrl key as you right-click to display the menu. you can push the Extend Selection radio button in the Settings window’s General tab to have a right-click extend a selection in the Wave Display. a Wave Display right-click brings up a menu. Copy to New When this command is run. which are faster and can handle more data. to the active clipboard. use one of Adobe Audition’s internal clipboards. Paste Paste inserts data from the active clipboard at the insertion point. By default. If the format of the waveform data on the clipboard is different from the format of the file it’s being pasted into.) Copy This command copies the current waveform. Cut Use Cut to remove the current waveform. the inserted audio is placed in the next available track at the beginning of the window’s timeline. the current waveform. to the active clipboard. . If there isn’t a highlighted segment. is copied to the active clipboard and then automatically pasted into a new Wave Display window. However. Insert Into Multitrack This command takes the currently highlighted portion of a waveform and inserts it as a waveform block in the Multitrack View window. (As a matter of fact. Notice that most have keyboard shortcuts listed next to their name. or highlighted part of the waveform. Select Entire Wave The entire waveform is selected (highlighted) with this command. Keep in mind that if you want to copy audio to another Windows application.

Unlike deleting or cutting a selection – which splices the surrounding material together – Silence leaves the duration of the selection intact. Trim Trim is used to get rid of unwanted audio (like silence) on one or both sides of the selected audio. (You might think of it as a “quick and dirty” alternative to Adobe Audition’s more powerful and flexible multitrack functions. Everything in the waveform is removed except for the highlighted selection. and simply zeroes the amplitude within it. Note: You must select part or all of your waveform first in order for Silence to work. You’ll notice the cursor turns into a hand pointer. Move your mouse cursor over one. or by File > Revert to Saved if you haven’t saved the file since trimming. Those squares are samples. select a small portion of the waveform and use the Zoom to Selection button (one of Adobe Audition’s Zoom Buttons) to zoom in as far as you can go. you can modify each sample of a waveform directly. Edit Sample Directly If you Zoom In far enough in Edit View. Should the format of the waveform data on the clipboard differ from the format of the file it’s being pasted into. Silence This function silences out the selected range of the waveform.) Clipboard data is inserted or overlapped beginning at the current insertion point or selection. The Wave Display zoomed in to the sample level Instead of looking “wavy. Adobe Audition automatically converts it before pasting. Right-click on a sample to display the Edit Sample Directly dialog. and get information about the active waveform. Left-click on a sample and drag it up or down as desired.” the waveform is displayed as a sequence of squares strung together by a line. Wave Properties Access this command to bring up a tabbed window that lets you embed text and graphics. specify certain parameters. Add to Cue List This command adds the current cursor position to Adobe Audition’s Cue List.ADOBE AUDITION 43 User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform. . Note: The deleted portion(s) aren’t copied to the clipboard and can only be retrieved using the Edit > Undo command. To do this.

0. • Sample Value is the value of the sample as measured using one of the four Interpret As options below. Negative numbers mean that the sample is below the horizontal center of the waveform.1. 24-bit range. Here are the major components of the Edit Sample Directly dialog: • Sample is the number of the sample as measured from the beginning of the waveform. while positive numbers mean that the sample is above the waveform’s center.44 CHAPTER 4 Navigating the Edit View The Edit Sample Directly dialog. • Interpret As is four options that determine how the Sample Value is measured. . Choose from 8-bit range. or Normalize +/. 16-bit range.

they’re half the size. Audio CDs use a sample rate of 41000 and a resolution of 16 bits per sample. Channels Select Mono if you want to record a waveform with just one channel of audio information (such as a voice- only recording). Resolution Three options are provided: • 8-bit creates waveforms where quality is not much of a concern. and Resolution.45 Chapter 5: File Menu – Edit View U New se the commands on the File Menu to open. Or. 8-bit waveforms are usually fine for telephony applications. . Select File > New to create a new. The Stereo option allows you to create a two-channel waveform with separate right and left channels. Because they contain twice as much data. However. or for use as embedded sounds in Web pages. The New Waveform window appears so that you can choose the new file’s properties. New Waveform Dialog You’ll get better-quality sound when you use a higher sample rate and resolution. Options are provided for Sample Rate. and more. and close wave files. keep in mind that most sound cards only support certain sample rates. Sample Rate This value determines how many frequencies can be encoded in the audio signal. perform batch conversions. While they tend to be noisier than their 16bit counterparts. This is usually the best option for a music recording. Popular sample rates are already listed. Higher sampling rates mean a wider bandwidth. empty waveform. stereo waveforms consume double the storage space of mono waveforms. but small file size is. but you’ll use more hard disk space. access recently used waveforms. Channels. save. just click on one to select it. import audio from video files. enter a custom number in the Sample Rate box to specify a different rate from those provided.

but adds useful Adobe Audition-specific features. • 32-bit creates a waveform that lets you work at the 32-bit level. allowing you to select one or more audio files for listening or modification. you’ll need to convert waveforms stored and processed at this rate to a lower bit rate (such as 16-bit) for playback. Open a Waveform Dialog Here are the components of the Open a Waveform dialog: Recent Folders This shows the folders you’ve most recently opened with Adobe Audition. your sound card may not be able to play them properly. go to Options > Device Properties. Open Use this command to load an existing waveform or CD track into an Adobe Audition editing window. The Open a Waveform dialog appears. Note: Although Adobe Audition can create and edit 32-bit files. . Select a folder name from the drop-down box to quickly navigate to it. To see the capabilities of your system. Adobe Audition automatically converts the audio file into an internal temporary waveform for quicker editing and better handling of large files. One benefit of 32-bit audio is more precise audio processing. This dialog looks and works similarly to a standard Windows Explorer Open window (including allowing you to use the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively). If that’s the case. plus the ability to take advantage of the power in sound cards that go beyond the 16-bit standard (such as a 24-bit card). This setting is suitable for most broadcast and music recording. Press the Options button in the Edit View’s File > Save As dialog to access 32-bit options.46 CHAPTER 5 File Menu – Edit View • 16-bit produces CD-quality waveforms. No matter which of the wide variety of supported waveform types you load.

since no number-crunching is required to change between rates. if you double-click on a raw. Open Append Use this command to add one or more waveforms to the end of the currently shown waveform in the editing window. Think of it as a quick way to make changes to one or more existing waveforms’ sample rate. Entering *. Show File Information With this box checked. Files of type Use this control to filter the display of files in the current folder to a specific type of supported waveform. Adobe Audition won’t ask you for the sample rate. Just select a waveform and click on the Play button in the Open a Waveform window. If the waveform being added is of a different type.*) listing displays all files in the current folder. or any other details.wav or *. such as Windows PCM (*. sample rate. For instance. which shifts between open files in the forward direction. the program uses the last settings specified when you opened a headerless file.*. selecting the All files (*. . you can easily select between them holding down the Ctrl+Tab keys simultaneously. you won’t be prompted for more information about the waveform format after you choose a file to open. full size.snd). File Name Here’s where you may specify the name of the file you desire to open. and/or channel type.mp3) displays all files with that extension in the open folder.ADOBE AUDITION 47 User Guide Look in Use this control to navigate through all available drives and folders. Since this function doesn’t pre-filter or post-filter the samples. Instead. if it resides in the current folder. Don’t ask for further details If you check this box. As you’d expect.extension (such as *. However. (Keep in mind that you can only play file types that are supported by your system. This handy feature lets you quickly audition files before you load them into an editing window. you’ll get better-sounding results when changing sample rates by opening the file(s) normally and using the Edit > Convert Sample Type function. better results are achieved if you only append files of the same sample rate. bit rate. Adobe Audition automatically converts it as it’s opened. Use the Ctrl+Shift+Tab key combination to move between open waveforms in the reverse direction. bit resolution.) You can also play individual files when Auto Play is unchecked. Terminate playback by clicking on the Stop button. Open As The File > Open As command is similar to File > Open. Auto Play Check this box to have Adobe Audition automatically play a sound file when you highlight it in the Open a Waveform window. headerless PCM file.au. Adobe Audition displays useful details about the selected waveform such as format type.wav) or Next/Sun (*. which replaces the Play button when a sound is playing. and running time. A-law/mu-law compression. except that it lets you specify the sample format before opening a file. Note: When multiple files are open in the Edit View.

) While CD tracks may be ripped using Adobe Audition’s File > Open dialog. where it can be modified just like any supported sound file. such as the abilities to rip partial tracks and specify the ripping process used. The Extract Audio From CD function gives you more control over the extraction procedure. Choose a Video File Dialog Extract Audio From CD Use Adobe Audition’s Extract Audio From CD feature to digitally pull out sound from audio compact discs and place it into the Wave Display for editing. This extraction process is commonly known as “ripping”. making it simple to locate the edit boundaries later. most newer CD-ROM drives do. The Choose a Video File window (similar to a standard Windows File > Open window) appears. The video’s audio is placed in an editing window. . Extract Audio from Video The command lets you extract the soundtrack from any type of video file that Adobe Audition supports.48 CHAPTER 5 File Menu – Edit View Note: Appended cue points are automatically placed within Adobe Audition’s Cue List. (Keep in mind that you must have a CD-ROM drive that supports audio extraction in order to use this feature. Luckily. allowing you to select one or more video files.

but where the audio appears within the CD. and the total number of frames you wish to extract in the Length box. .ADOBE AUDITION 49 User Guide The Extract Audio From CD dialog Here are the major components of the Extract Audio From CD dialog: Device If your system has more than one CD-ROM drive. • Time: To extract part of a track or a segment of audio that spans multiple tracks. (There are 75 frames in each second of compact disc audio. (There are 75 frames in one second of CD audio. Enter the beginning frame in the Start box. The Time option is great for pulling “hidden” tracks from CDs. as well as to join tracks that have been broken up by track indices (such as performance track CDs and live albums). • Track: If you want to extract one or more complete CD tracks. Source Selection Two methods of choosing the exact audio you wish to extract are provided: Track and Time. A list of all tracks on the compact disc is shown.) Click on the desired track names to select them for extraction. The Range bar provides a graphical representation of not only the amount of audio that will be extracted. However. along with their lengths stated in Min:Sec:Frame format.) The actual start and length times are displayed in Min:Sec:Frame format above their respective boxes. use this drop-down list to select the drive you want to use for extraction. you might not see any change in the appearance of the Range bar. push the Time button. push the Track button. if only a short bit of audio is selected for extraction. simultaneously holding down the Ctrl key to choose non-contiguous tracks or the Shift key for contiguous selection.

not all do. several additional options are available: • Read Method is a drop-down menu that lets you choose the way Adobe Audition reads CD audio. which therefore determines how much data is pulled from the CD in each call to the read command. (ASPI. try this setting first. try choosing a slower speed. while PCs need data reported using the Big Endian method. Windows 2000. many of them developed before the SCSI 3 specifications were published.50 CHAPTER 5 File Menu – Edit View Interface Options Two main options are provided: Generic Win32 and ASPI/SPTI. • NEC (D4): Use this setting with older NEC CD-ROM drives. It sends the D8 SCSI Op Code to the CD-ROM drive.) • MMC – Read CD: This is the SCSI 3 specific command. You would normally leave this box unchecked. stands for Advance SCSI Programming Interface. while the CD’s right channel audio is placed in the Wave Display’s left channel. ASPI/SPTI should be selected. Under normal circumstances. Several methods are provided. but since it’s optional.) Generic Win32 should only be used if the ASPI/SPTI setting doesn’t produce satisfactory results. SPTI is an acronym for SCSI Pass Through Interface. Many SCSI devices support this command. if extraction at maximum speed produces errors. • Plextor (D8): Use this setting with older Plextor CD-ROM drives. and was implemented by Microsoft as an Operating System-supported way of sending SCSI commands. • D5: This command sends the D5 SCSI Op Code to the CD-ROM drive. • SBC – Read10: This is a standard SCSI read command that uses a 10-byte SRB (SCSI Request Block). • CD Speed: This drop-down control lists all extraction speeds that your selected CD-ROM drive supports. The default is 16 KB. • Swap Byte Order: Some CD-ROM drives designed to work only with other types of computers (like DEC and Macintosh systems) report data using the Little Endian byte order. the left channel of the CD’s audio is placed in the right channel of Adobe Audition’s Wave Display. (The Generic Win32 option causes the Extract Audio From CD feature to use Input/Output control codes instead of SCSI commands. and Windows XP. developed by Adaptec. . and it’s the command that most all recent drives will work with. If you have a newer CD-ROM drive. but you’re welcome to experiment with the other sizes (which range all the way to the highest buffer size your CD-ROM drive supports). (The SCSI 2 specs made no accommodations for CD ripping. While higher sizes mean faster ripping. All SCSI devices are required to support this command. • SBC – Read6: This is a standard SCSI read command that uses a 6-byte SRB (SCSI Request Block). However. • Buffer Size: The figure in the Buffer Size box specifies the amount of data Adobe Audition calls into the CD Extraction module to fetch. Many people will find satisfactory results with the Max (Maximum) Speed option. at this writing it’s only available on Windows NT.) When the ASPI/SPTI button is pushed. • Swap Channels: When this box is checked. they could introduce errors into the ripped file. check it only if the extraction process seems to work fine but the audio results are “garbage”. and lets you choose the speed you want to use. Checking this box changes the byte order from Little Endian to Big Endian or vice-versa.

ADOBE AUDITION 51 User Guide • Spin Up Before Extraction: Some CD-ROM drives have better accuracy when they first read the CD if the drive is already spinning. you have access to No Correction and Jitter Correction options. no error correction is needed. • The Jitter Correction option compensates for data reading problems that older drives might have. (Your CD-ROM drive doesn’t need to be physically hooked up to your sound card in order to hear the preview. the Preview button turns into a Stop button. Revert to Saved Use Revert to Saved to reload the currently visible waveform from disk. A box will pop up to allow you to name the preset. This means that the drive has ripping error correction built in. unsaved files. select it and press the Del button. If your drive is like this. having this box checked doesn’t really provide any advantages. since Adobe Audition actually rips the preview audio. check the Spin Up Before Extraction box. Close All Waves and Session Use this command to close all editing windows and the current multitrack session (if any) simultaneously. if necessary. Close This closes the currently displayed editing window. Close Only Non-Session Waveforms All waveforms not currently inserted in a multitrack session are closed when this command is used. When a waveform is closed. it’s automatically “CDDA Accurate”. Presets The Extract Audio From CD dialog supports Presets. its associated temporary file is automatically deleted as well. press the Add button. Adobe Audition asks you if you wish to save them. Error Correction If a CD-ROM drive supports SCSI3 and ReadCD. Click it to discontinue the preview. if your drive isn’t CDDA Accurate. Otherwise. so you won’t be able to select any options from this part of the Extract Audio From CD dialog.) When the audio begins to play. You’re given the option to save any modified. • No Correction. However. which allow you to save and recall favorite settings. Preview Press the Preview button to audition the CD audio that will be extracted. To add the current settings as a preset. means that no error correction will be performed. If any changes have been made to the waveform since the last time the file was saved to disk. as you’d expect. To remove a stored preset. This discards any edits that were made since the last time the file was saved. You’re prompted to save. . For those types of drives.

Save As This command brings up the Save Waveform As window. Note: To save newly recorded waveforms. .wav) or MPEG 3 (*. or format. The File > Save As function is also used to save newly recorded waveforms to disk. Free space on all available drives is displayed in the right section of the window. Save in Use this control to navigate through all available drives and folders. Save as type Use this control to choose the format you wish to save from the drop-down list of supported file types. No options are provided. use the File > Save As command. Select a folder name from the drop-down box to quickly navigate to it. Save Waveform As Dialog Recent Folders This shows the most recent folders that Adobe Audition has saved files in. location.mp3).52 CHAPTER 5 File Menu – Edit View Save This saves a modified waveform to disk using the waveform’s existing name and format. such as Windows PCM (*. File Name Here’s where you specify the name of the file. which allows you to save the current waveform to a new name.

Options Most audio file formats support various options. Save Selection File > Save Selection works similarly to the File > Save As command. If you plan to burn the waveform to compact disc using another program. except it allows you to save just the highlighted selection of a waveform to its own file. Adobe Audition asks you if you want to convert before saving. Press the Add Files button to bring up the Please Choose the Source Files dialog (similar to Adobe Audition’s File > Open dialog) to select one or more waveforms. Or. should you wish to record a number of samples from a friend’s sampler. and suggests that you keep a backup of your original file if you wish to preserve full audio fidelity.mp3) using a four-window process. the Options button is disabled (“grayed out”). If the format doesn’t have any options. you could record them as a single. Batch File Convert Adobe Audition’s handy Batch File Convert tool allows you to easily change multiple waveforms from one audio format to another (such as from . Hold down your Ctrl or Shift keys to select non-contiguous or contiguous files respectively. Save extra non-audio information Uncheck this box if you don’t want to save header fields such as copyright/author information and cue marks. Save All Run the File > Save All command to automatically save all open. 1 Files This window is where you add files to the list of waveforms to be converted. . This feature is very useful for saving small segments of a larger file. more manageable tracks. Adobe Audition also warns you if you’re trying to save a waveform to a compressed (lossy) format. modified waveforms to disk. For instance. You can even select an entire folder with the Add Folder button. you can break up a long music recording into smaller. Some CD recording applications interpret non-audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track. If you don’t want to see this dialog box again.wav to . In this case.ADOBE AUDITION 53 User Guide Note: Some formats can’t be written to using waveforms of certain sample types.) Press the Options button to bring up a window to select the desired settings. continuous file and then split them into their own waveforms. check the Don’t display this message in the future box. (See the Waveform File Formats chapter for more infor- mation. unchecking the box is highly recommended.

and other properties. or click on the Remove All button to delete all files from the list. If the box is unchecked. If you’re converting Raw PCM files. Check the Hide Path box if you don’t want to see the full path of each file. Channels. press the Open Raw PCM As button to pick the desired Sample Rate. 2 Resample Check the Convert Sample Type box if you wish to change each waveform’s sample properties to a common set of values. the destination sample format is the same as the source and the Change Destination Format button is disabled. Resolution. . This enables the Change Destination Format button.54 CHAPTER 5 File Menu – Edit View The Files Screen of the Batch File Convert Dialog Press the Remove button to delete highlighted files from the list.

.ADOBE AUDITION 55 User Guide The Resample Screen of the Batch File Convert Dialog Pressing the Change Destination Format button brings up Adobe Audition’s Convert Sample Type window. where you can select the destination files’ sample properties. Use the Output Format drop-down control to pick the desired format from all of Adobe Audition’s supported file types. 3 New Format Here’s where you choose the format of the destination files.

56 CHAPTER 5 File Menu – Edit View The New Format Screen of the Batch File Convert Dialog Click on the Format Properties button to bring up the Options screen for the destination format. • remove filenames from the source list once their waveforms have been successfully converted. you’ll see the MPEG-1 Layer 3 Encoder Options screen. if you’re converting waveforms to . For example. • delete the source file(s) if the conversion process was successful. a 22 kHz mono waveform might need different encoding options than a 44 kHz stereo file. By selecting the desired radio buttons and check boxes.mp3 files you’re creating. you can: • save modified files in the same folder as the file’s source file or another folder. For instance. Highlight the desired Sample Format Type entry and press the Format Properties button to make the necessary adjustments. you may have to select different file format properties for each entry. The Sample Format Types box lists the sample properties of the waveforms that are to be converted. 4 Destination This screen allows you to select the destination folder and the way files are renamed. • save existing files with the same name overwritten. depending on the destination format. If you see more than one entry in this list. where you can adjust the properties for the . .mp3 format.

including the instances of Undo for each waveform. since all changes are written to the temp folder. Flush Virtual File Adobe Audition opens waveforms and uses them directly without making a backup in the temp folder.ADOBE AUDITION 57 User Guide The Destination Screen of the Batch File Convert Dialog Decide how you want the files renamed by modifying the text in the Output Filename Template field. Files are automatically flushed if the entire waveform is modified by Adobe Audition. If your system has lots of available free hard drive space. several example templates are shown as guides in case you wish to be more creative in your renaming. running the Flush Virtual File command copies the waveform’s contents to the temp folder and closes the file. the default renaming method is fine (the first part of the filename remains the same but the extension is changed). so you may not see this window unless you manually call it from the File menu. Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition’s use of the space on your hard drive(s). However. The window also automatically appears when available hard drive space nears zero kilobytes. If a waveform needs to be closed for deleting or for opening in another program. . Adobe Audition’s undo levels are cleared regularly. In other words. press the Run Batch button and Adobe Audition automatically processes each file. In most cases. After the desired parameters have been set in Batch File Convert’s four tabbed screens. this command lets an audio file that’s currently being used by Adobe Audition to be simultaneously used by another program or resource application.

and are used to store these temporary files. however. This frees up hard drive space as well. Lower Hard Drive Reserves Adobe Audition creates temporary files for use when performing audio edits. The amount of hard drive space each instance consumes is shown. Press the Set New Reserves button to save the new values you’ve entered as the program’s defaults. In case that free space gets low. . Select the name of the file for which you’d like to remove Undo instances.58 CHAPTER 5 File Menu – Edit View The Free Up Space In Temp Files Dialog Waveform The Waveform list displays the names of the currently open waveforms. Press the Close File button to close the highlighted file if you no longer need it opened in Adobe Audition. indicating that you have run out of storage space. Total Available Space This field displays the total amount of hard drive space available to Adobe Audition. (It’s the sum of the free space on your Primary and Secondary drives. Cancel Last Operation Press this button to stop any action in progress. Adobe Audition won’t make use of it. You can temporarily change that reserved space by entering a different amount in MB that you wish to keep free on those drives. (The waveform in the currently active editing window can’t be closed this way. highlight an item from the list and press the Clear Undo(s) button. The Primary and Secondary drives listed are those that have been set in the System tab of the Options > Settings window.) Undo History This part of the window lists the “undone actions” that are currently being retained on your system.) This value should increase as you free up space. such as the application of an Effect or any other edit. The becomes useful only if the Free Some Hard Drive Space window has been automatically invoked by Adobe Audition. All Undo actions at the selected level and below are removed. To remove items from the Undo History list.

. You can quickly open any of these files (providing they haven’t been deleted or moved) by selecting it from the list with your mouse. Or. If there are any modified waveforms that are open that haven’t been saved to disk. Exit As you’d expect. this command closes Adobe Audition. you’ll be asked if you want to save them.ADOBE AUDITION 59 User Guide MRU List The Most Recently Used list displays the last nine audio files opened in Adobe Audition. All temporary files that Adobe Audition has created are deleted as well. type the number that’s associated with the desired file.

60 CHAPTER 5 File Menu – Edit View .

whether you want to undo the action or not. if available. Undo and Redo have been disabled. Undo can be turned off three ways: 1 On the System tab of Adobe Audition’s Settings window (Options > Settings) 2 By removing the check mark from the Edit > Enable Undo/Redo menu item 3 By pressing the Skip button in the Saving Undo Data dialog while Undo information is being saved. Undo Delete or Undo Normalize. If you forget which editing action you last performed on a waveform. If the Undo function is enabled in the Systems tab of Options > Settings. the problem can be solved by turning off the Undo function – if you don’t mind working without a “safety net”. this menu item might say. All changes are automatically saved as one or more files in your temporary folder as long as the waveform is open in Adobe Audition – even after it’s been saved to disk. For instance. If a checkmark appears next to this menu item. This gives you the freedom to “experiment” or make mistakes. About Undo Adobe Audition’s Undo information is stored as a temporary file on your hard drive. an unlimited number of undos can be retained. Enable Undo/Redo Highlight and click Enable Undo/Redo to toggle its status. When working with very large audio files. In either case. Undo This command reverses the last action. . If you haven’t yet edited a waveform. as long as the Undo function is turned on (see Enable Undo/Redo below). this menu item says Can’t Undo or Undo Disabled instead.61 Chapter 6: Edit Menu – Edit View T he Edit Menu displays all of the options that have to do with basic waveform editing in the Edit View mode. the number is only limited by the amount of free hard disk space). knowing that Adobe Audition’s Undo function is there to cover your backside when you want to revert back to the last edit you performed. you can change the Temp folder to a different drive. Adobe Audition’s Undo and Redo functions are turned on. If you find that you don’t have enough disk space to save the Undo information. To do this. go to Options > Settings and click on the System tab. check out the Undo item on the Edit menu to jog your memory. (Actually. If you don’t see a checkmark. it’s possible that you might not have enough free disk space to save the Undo information before continuing on with an edit. It’s also possible that the time required to save the Undo information of very large audio files can slow your work down. or Undo has been disabled. Change the path in the Temp Folder field so that it points to another drive and folder. Adobe Audition conveniently tells you which action you’re undoing.

to the active clipboard. Each works similarly to the Windows clipboard. Use this command to decide which of Adobe Audition’s five available internal clipboards is active – just check the one you wish to use. except without the memory limitations. but there are a few exceptions (such as Delete).62 CHAPTER 6 Edit Menu – Edit View Repeat Last Command Just as you’d expect. Note: Keep in mind that if you want to copy audio to another Windows application. Or.) from the original clipboard material. etc. The new file automatically inherits the properties (sample rate. choose Windows to have Adobe Audition use the Windows clipboard. or highlighted part of the waveform. Paste Paste inserts data from the active clipboard at the insertion point. the current clipboard must be set to Windows. or it replaces the currently highlighted data. this item repeats the last command.) Set Current Clipboard Menu Copy This command copies the current waveform. If the format of the waveform data on the clipboard is different from the format of the file it’s being pasted into. Paste to New This command creates a new file and inserts waveform data from the active clipboard. use one of Adobe Audition’s internal clipboards. Set Current Clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage. to the active clipboard (see Set Current Clipboard). or highlighted part of the waveform. Adobe Audition automatically converts it before pasting. Cut Use Cut to remove the current waveform. which are faster and can handle more data. sample frequency. Most editing functions in Adobe Audition can be repeated using this command. Otherwise. (You’ll want to use the latter option if you want to copy audio data to other Windows applications. .

you can type in a value (represented in percentage) in the fields to the right of the volume sliders. (Any samples above the center line will be placed below the line. Lock Left/Right When this box is checked. . the current waveform is automatically lengthened to accommodate the pasted audio. moving any existing data to the end of the inserted material. both volume sliders are locked so that when one is moved to a certain level. Paste in single channels (either left or right) by adjusting the level of the opposite channel to zero. Insert Choose this radio button if you wish to insert waveform data from the active clipboard at the current location or selection. If the clipboard audio is longer than the current waveform. and those below will come out above the line. the other moves simultaneously to that same level.) Mix Paste Dialog Clipboard data is inserted or overlapped beginning at the current insertion point or selection.ADOBE AUDITION 63 User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform. Overlap When Overlap is selected. Adobe Audition automatically converts it before pasting. If no selection has been made. Should the format of the waveform data on the clipboard differ from the format of the file it’s being pasted into. Adobe Audition inserts clipboard audio at the cursor location. Or. Invert Check the desired Invert box to physically turn that channel of the waveform upside-down. the clipboard audio is mixed at the selected volume level with the current waveform. (You might think of it as a “quick and dirty” alternative to Adobe Audition’s more powerful and flexible multitrack functions. The major components of the Mix Paste window are as follows: Volume Move the volume sliders to adjust the sound level of the left and right channels of the audio in the clipboard before pasting. replacing any selected data.) This function comes in handy when you want to take the difference (or subtract one signal from another) between two samples.

64 CHAPTER 6 Edit Menu – Edit View Replace This option pastes the contents of the active clipboard beginning at the cursor location. . the current selection is automatically lengthened accordingly. except that the values of the two waveforms are multiplied by each other. and then render the montage to a new single file. is copied to the active clipboard and then automatically pasted into a new Wave Display window. the inserted audio is placed in the next available track at the beginning of the window’s timeline. Copy to New When this command is run. the entire current waveform is inserted. you can insert the montage into the Multitrack View. Either way. Should the clipboard audio be longer than the current selection. Once you’re done. and replaces the existing material thereafter for the duration of clipboard data. Modulate Select this option to modulate the clipboard audio with the current waveform for an interesting effect. which is similar to Adobe Audition’s Open dialog. the current waveform. make desired changes. From File Select this option and press the Select File… button to browse for an audio file to paste into the active waveform. this selection is disabled. instead of added. Insert Play List in Multitrack Use this command to take all the entries in the Adobe Audition Play List and insert them into the Multitrack View as its own item. Use this command if you use the Play List to assemble long montages that come out of a single file. the audio data in the clipboard is pasted the number of times entered. If there’s no audio data in the Windows clipboard. Adobe Audition fades in the first n milliseconds and fades out the last n milliseconds of pasted data. Insert in Multitrack This command takes the currently highlighted portion of a waveform and inserts it as a waveform block in Adobe Audition’s Multitrack View. If there isn’t a highlighted segment. The Please Choose a Wave File window appears. or highlighted part of the waveform. Crossfade Check the Crossfade box and enter a value (in milliseconds) to apply a fade to the beginning and end of the clipboard data. For instance. From Clipboard n Select From Clipboard n to paste audio directly from the active internal clipboard. This is similar to overlapping. sample by sample. Use this option for smoother transitions to and from pasted audio. pasting 5 seconds of material replaces the first 5 seconds after the cursor with the clipboard’s contents. Loop Paste When this box is checked. From Windows Clipboard Choose this option if you want to paste audio from the Windows clipboard.

Delete Silence Use this feature to have Adobe Audition automatically detect and remove silence between words or other audio. It’s ideal for cleaning up voice prompts and speeding up narratives without affecting the foreground audio. The duration (in milliseconds) of this maximum amplitude value should be entered in the For more than box.ADOBE AUDITION 65 User Guide Select Entire Wave Choose this command to select the current waveform. for example. high-quality audio. It doesn’t make any difference if you can’t see the entire waveform on screen – the whole thing is highlighted. the dB value will be lower (like –60 dB). . For noisier audio. Delete Selection This command removes the highlighted portion of the waveform. short words may be skipped. or by File > Revert to Saved if you haven’t saved the file since deleting. “Audio” is defined as Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box. Note: For very quiet. Use higher values for the second box to ignore short periods of undesired audio (like clicks. The duration (in milliseconds) of this minimum amplitude value should be entered in the For more than box. if the value is too high (above 200 ms). Use higher values in the second box to keep groups of words together. However. or other noise). the value may be much higher (such as –30 dB). Note: Deleted data doesn’t go to the clipboard and can only be retrieved using the Edit > Undo command. Delete Silence Dialog Here are the major components of the Delete Silence window: “Silence” is defined as Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box. static. You may also select the entire wave by double left-clicking within the Wave Display window.

• If a silent region of less than this length is found. and the difference between cuts 3 and 4 is 3. For instance. Note: Remember that the deleted portion(s) aren’t copied to the clipboard and can only be retrieved using the Edit > Undo command. Everything in the waveform is removed except for the highlighted selection. suggested values are automatically placed in the appropriate boxes. words or phrases are being chopped off – try lowering the signal level values. as well as how many sections of silence were found. a setting of 150 ms or so will leave a more realistic. After completing the scan. Setting this value to zero will remove as much silence as possible. Essentially. If these values aren’t doing the job – say. natural-sounding pause where the larger region of silence was found.7 seconds. Scan for Silence Now Press this button to pre-perform the silence deletion. When shortening speech segments.66 CHAPTER 6 Edit Menu – Edit View Find Levels Press this button to scan the waveform (or a highlighted section) to have Adobe Audition automatically determine a good starting point for signal levels. This gives you an idea of what to expect using the current settings when you actually commit to the Delete Silence command. . Trim is the exact opposite of the Delete Selection command.2 seconds.1 seconds. Zero Crossings This command adjusts the starting and ending points of the current selection to the nearest place where the waveform crosses the center line (zero amplitude point). you can use Delete Silence to make the silence duration between all four cuts exactly 3 seconds. Removal of too much silence leads to an artificial sound. Instead of actually deleting. Limit Continuous Silence to Enter a value (in milliseconds) in this box to set a minimum amount of silence to keep at all times. it reports how much silence will be removed. use Edit > Delete Silence to make sure the duration of silence between each cut is the same. or by File > Revert to Saved if you haven’t saved the file since trimming. Mark Deletions in Cue List Check this box to have each location where silence is removed added to Adobe Audition’s Cue List. • If a silent region of more than this length is detected. Increase the signal level values if not enough silence is being removed. If you have an audio presentation that consists of many cuts separated by silence (such as a reel of several jingles). Trim Use Trim to get rid of unwanted audio (like silence) on one or both sides of the selected audio. it’s not removed. the difference between cuts 2 and 3 is 4. enough silence is removed so that there’s exactly this length of silence left. if the difference between cuts 1 and 2 is 3.

3 Press Shift+[ until you arrive at the desired loop starting point. or add the loop to the Cue List. 2 Choose Edit > Zero Crossings and the appropriate submenu entry: • Adjust Selection Inward: Adjusts both region boundaries inward to the next available zero crossing • Adjust Selection Outward: Adjusts both region boundaries outward to the next available zero crossing • Adjust Left Side to Left: Adjusts the left region boundary leftward to the next available zero crossing • Adjust Left Side to Right: Adjusts the left region boundary rightward to the next available zero crossing • Adjust Right Side to Left: Adjusts the right region boundary leftward to the next available zero crossing • Adjust Right Side to Right: Adjusts the right region boundary rightward to the next available zero crossing Find Beats Use this function to have Adobe Audition locate the boundaries that make up musical beats in an existing music audio file. To use Zero Crossings: 1 Select the portion you want to delete (or position the cursor where you want to insert).ADOBE AUDITION 67 User Guide Having a selection start and end on a Zero Crossing is useful in deleting or inserting a selection in the middle of a waveform. This lets you easily find the starting and ending loop points when you want to construct drum loops and similar musical phrases. 7 After any necessary tweaking. paste. 6 Press the Play Looped button in the Transport Controls to audition your loop. 4 Choose Edit > Find Beats > Find Next Beat (Right) to select from the current cursor position (now the loop start) to the next beat. or insert a portion from the middle of the waveform. the end points drawn together when the highlighted selection is removed are at different amplitudes. you can revert to the original source file and use the Zero Crossings feature to match initial and ending levels. To adjust for this. 5 Press Shift+] until you arrive at the desired ending for your loop. in this case) on both sides of the selection. Note: If the waveform levels don’t match up at the loop point. you can then save. You might want to use this feature when you wish to delete a portion of a waveform. which often results in an audible pop or click. If you don’t line up the amplitudes (at zero. To use Find Beats: 1 Place the play cursor in the Wave Display to the left of your targeted loop starting point. . you may hear audible clicking as the loop repeats. 2 Select Edit > Find Beats > Find Next Beat (Left) to locate the beginning of the current beat.

The duration (in milliseconds) of this maximum amplitude value should be entered in the For more than box.68 CHAPTER 6 Edit Menu – Edit View Auto-Cue The Auto-Cue feature is used to define spoken/music phrases or beats. • Audio will be considered as valid when: Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box. short words may be skipped. and automatically add them to the Cue List. Here are the major compo- nents of the Auto-Cue Settings window: • Audio will be considered “silence” when: Enter the amplitude value (in decibels) you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box. After completing the scan. ignoring any silence before and after the audio. marking non-silent regions as Basic cues in the Cue List. Increase the signal level values if not enough silence is being removed. the value may be much higher (such as –30 dB). Nothing is added to the Cue List. For noisier audio. The duration (in milliseconds) of this minimum amplitude value should be entered in the For more than box. static. high-quality audio. words or phrases are being chopped off – try lowering the signal level values. To use Auto-Cue. However. first highlight the general region in which you wish to find phrases or beats. the dB value will be lower (like –60 dB). • Find Phrases and Mark: Scans the highlighted area. Then. Use higher values in the seconds box to keep groups of words together. If these values aren’t doing the job – say. select Edit > AutoCue and the appropriate submenu choice from the following options: • Adjust Selection to Phrase: Selects a phrase within the highlighted region by adjusting the highlight inward. marking beats as Beat cues in the Cue List. • Find Beats and Mark: Scans the highlighted area. Note: For very quiet. • Find Levels: Press this button to scan the waveform (or a highlighted section) to have Adobe Audition automatically determine a good starting point for signal levels. Use higher values for the second box to ignore short periods of undesired audio (like clicks. suggested values are automatically placed in the appropriate boxes. Auto-Cue Settings Dialog • Auto-Cue Settings: Choose this option to customize the way the Auto-Cue function works. if the value is too high (above 200 ms). for example. or other noise). .

Trim Digital Silence will act as a normal Trim command. the loudest part of the waveform is set to a specified amplitude. SMPTE.) If the volume is raised as part of the normalization process. Keep in mind that snapping only occurs if you’re close to the ruler tick. etc. This lets you place a waveform more accurately within the timeline. SMPTE. check Snap to Ruler (Fine).) Snap to Cues Use this option to allow a selected waveform to snap to a defined Cue point. using Group Waveform Normalize is a great way to make sure that all tracks on the CD have a consistent volume. trimming out everything else. Group Waveform Normalize Group Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three-screen batch process. Four options are available.) in the timeline window. (Only one of the Snap to Ruler commands can be checked at a time. If you need more precise snapping. in addition to any digital silence in the highlighted region at the endpoints. . all accessed from the Edit > Snapping submenu. Zooming in on the timeline – which is done by right-clicking and dragging within the timeline across the desired waveform area – will generally break the display down into more accurate subdivisions. If you’re getting ready to master an audio CD. (See the View > Cue List section of this guide for information on how to define Cue points.) within the timeline window. the term “snapping” means that whenever a waveform cursor is placed within a certain distance of a defined location point timeline or cue location point. Snap to Ruler (Fine) Select this option to allow the selected waveform to snap to each of the subdivisions (decimal. that cursor automatically “jumps” or “snaps” to that precise boundary point. the zero amplitude point).ADOBE AUDITION 69 User Guide • Trim Digital Silence: This command removes pure digital silence from the beginning and ending of a file. the selection or your cursor is always right on a frame boundary in whatever time format you’re in – as long as the time format selected is measured in frames (such as Compact Disc and SMPTE). Snapping settings may be easily accessed by right-clicking on the timeline. Snap to Zero Crossings Choose this option to have the waveform snap to the nearest place where the waveform crosses the center line (in other words. Highlight and check one to select it. However. samples. Snapping In this case. This option is especially handy for working on audio for CD. (When you normalize a waveform. Adobe Audition can apply limiting to prevent clipping. etc. samples.) Snap to Ruler (Coarse) This option allows the selected waveform to only snap to the major numeric divisions (decimal. Snap to Frames (Always) When Snap to Frames (Always) is chosen. if you highlight the middle of a waveform. thereby raising or lowering all other parts of the same waveform by the same amount. which is described below.

) You can also just click and drag to highlight a group of waves. .70 CHAPTER 6 Edit Menu – Edit View 1 Choose Files Tab A list of all the currently open waveforms is shown. (This is similar to the way you pick multiple files in Windows Explorer. Choose the ones you wish to normalize by using the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively. The Choose Files Tab of the Group Waveform Normalization Dialog 2 Analyze Loudness Tab The waveforms you’ve chosen to normalize appear in this list. Press the Scan for Statistical Information button to have Adobe Audition analyze the current amplitude statistics for each listed waveform.

You can select any subset of files and clear just those. The value used to determine the amount of normalization is either the Loud or Eq-Loud value.ADOBE AUDITION 71 User Guide The Analyze Loudness Tab of the Group Waveform Normalization Dialog These statistics are shown: EQ-Loud This is the final loudness value with an equal-loudness equalization curve that takes into account frequencies the human ear is more or less sensitive to. Reset Press this button to clear all of the normalization statistics for the files in the list. This value will be used to determine how much to amplify the audio to normalize it if the Use Equal Loudness Curve is not checked in the final step. If Use Equal Loudness Curve is chosen in the final Normalize step. depending on if the Use Equal Loudness Curve box is checked in the Normalize tab. Loud This is the final loudness value without equal-loudness equalization. This value is based on a full-scale sine-wave being 0dB. and uses the window width given in the Advanced section of the Normalize tab. If limiting is used. Max This is the maximum RMS amplitude found. Generally. Avg This is the total average RMS of the entire file. but instead the louder portions of audio will be limited to prevent actual clipping. Anything higher than this may result in audible artifacts in the louder portions of audio. . you don’t want this value to be more than 5%. then this is the value that will be used to determine how much to amplify the audio to normalize it. % Clip This is the percentage of the waveform that would be clipped when normalizing. This value isn’t used to normalize with because files can have more interesting dynamics that need to be accounted for. then actual clipping won’t occur.

Since the ear is less sensitive to very high and very low frequencies. percentages aren’t used with the Group Waveform Normalization function because it’s not peak-based. Checking the Equal Loudness Contour box will ensure that the audio has the same perceived loudness regardless of what frequencies are actually present in the sound file. Note: Unlike Effects > Amplitude > Normalize. The Normalize Tab of the Group Waveform Normalization Dialog Normalization You can normalize to an average level. which shows the relative amounts of audio at each loudness level. and a Clipping Profile. • Normalize to a Level of lets you specify the normalization level (entered in decibels) for the whole batch of waveforms. Use Equal Loudness Contour Check this box to have Adobe Audition use an equal loudness contour. will sound like they have differing volumes. but that contain different frequencies. where the middle frequencies are most important.72 CHAPTER 6 Edit Menu – Edit View Double-click on any of the files in this list to see a more detailed account of statistics including: a complete RMS Histogram. 3 Normalize Tab This is the area where you specify how you’d like to have Adobe Audition normalize the listed waveforms. two different pieces of audio with the same RMS amplitude. • Normalize to Average Level of Source Files normalizes each file using the average level of all of them. which shows how much clipping will occur for each decibel of amplification. . and much more sensitive to those frequencies between 2 kHz and 4 kHz. You’d normally want to have this box checked. but RMS-based. or to a specific level. or may go over 150% and be the same loudness. The peaks may not go above 25%.

No Limiting (Clip) If this option is chosen. Make sure the value is at least 5 ms. If this happens. audible distortion effects may be heard. (The default is 12 ms.) • Release Time: This is the time (measured in milliseconds) that it takes for the attenuation to rebound back 12dB (or roughly the time it would take audio to resume normal volume if an extremely loud peak was encountered). which means you could end up with clipped (distorted) audio. you can choose to just let it clip (and cause distortion) – or you can apply limiting to those areas so the audio doesn't actually clip (which is what’s commonly done for the audio of TV commercials so they sound louder). audio may just stay very quiet.ADOBE AUDITION 73 User Guide Out of Band Peaks These settings determine how Adobe Audition handles out of band peaks. Run Normalize After adjusting the parameters to your preferences.) Advanced Here’s where you can modify the Statistics RMS Width. the audio samples may go beyond clipping. . Note: If this value is too small. if needed. press the Run Normalize button to close the Group Waveform Normalization dialog and perform normalization on all selected waveforms. and will preserve very low bass frequencies. Note: If this value is too long. Use Limiting Choose this option to have Adobe Audition’s Hard Limiter spring into action. Adjust Sample Rate Use this command to bring up the Adjust Sample Rate window. When amplifying audio. (The default is 200 ms. Generally around 100 ms (the default) works very well. However. • Look Ahead Time: This is the amount of time (measured in milliseconds) that it will generally take to attenuate the audio before the loudest peak will be hit. which is measured in milliseconds. it does let you hear what the current waveform would sound like at a different sample rate. and not resume normal levels for a while. no limiting will be performed. to keep out of band peaks from clipping. It lets you play an audio file at any sample rate that is supported by your sound card. The default is 50 ms. Keep in mind that this command doesn’t let you actually convert the audio file – you’ll need to go to Edit > Convert Sample Type for that.

measurable voltage level. it can be digitally stored or processed. a system’s sampling rate determines a system’s overall bandwidth – in other words. Once the conversion has been made. this analog signal is momentarily “held” for observation and thus represents a specific. The most commonly encountered sample rates used for digital audio editing are: • 11.74 CHAPTER 6 Edit Menu – Edit View Adjust Sample Rate Dialog Choosing a higher sample rate results in Adobe Audition playing back the file at higher pitch (think “chipmunks”). A mathematical conversion is used to generate a digital series of numbers that represent the signal level at that particular instant in time. To see the capabilities of your system. while selecting a lower sample rate results in a lower-pitched sound (think “drunk Darth Vader”). check Options > Settings > Device Properties. your sound card may not be capable of playing it properly. Higher sampling rates yield a wider bandwidth. how many frequencies can be encoded within the audio signal. The sampling rate is defined as the number of samples (or snapshots) that are taken of an audio signal per second. At each interval. Sample Rate The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal). Note that most sound cards support only certain sample rates. Although you can create and edit any sample type with Adobe Audition. and resolution may not be available on your system. About Sample Rates During the sampling process. an incoming analog signal is sampled at discrete time intervals.000 Hz Better than FM Radio Quality (standard broadcast rate) .050 Hz Near FM Radio Quality (high-end multimedia) • 32. or choose a common sample rate from the list. You may enter any sample rate directly. Certain combinations of sample rate. Since sampling is tied directly to the component of time. channels. Higher sampling rates generally yield a better-quality waveform.025 Hz Poor AM Radio Quality/Speech (low-end multimedia) • 22.

Channels This setting is disabled in Adjust Sample Rate.000 Hz DVD Quality Non-standard sample rates can be entered directly into the numeric sample rate window. Unlike Edit > Adjust Sample Rate. Have a sample type that you convert to often? Use the Save As… button to add those settings to the Sample Rate Conversion Presets list.000 Hz DAT Quality • 96. Convert Sample Type Dialog You can choose various levels of conversion quality. Various other options are available. letting you adjust the conversion process to suit your own particular needs.ADOBE AUDITION 75 User Guide • 44. Resolution This setting is disabled in Adjust Sample Rate Convert Sample Type This function converts the sample rate. Changes in overall and relative L/R volume levels may be easily made when converting between mono and stereo formats. so that the audio retains the same pitch and duration as the original file. Convert Sample Type directly processes the samples within the file. The Dither option allows you to reduce granulation noise when converting to lower bit rates. The following are the major components of the Convert Sample Type: Sample Rate Conversion Presets Choose any saved presets that you’ve created from this drop-down list. .100 Hz CD Quality • 48. Press the Delete button to remove highlighted entries from the list. bit rate. or re-samples the data. and channel format of an audio file that’s currently loaded in Adobe Audition into a new format type (such as 44 kHz/16-bit/stereo to 22 kHz/8-bit/mono).

) . you can convert a stereo waveform to mono with a Left Mix of 100% and a Right Mix of -100%. If you’re converting from Stereo to Mono. you can place the mono source on the left channel only. Although a small amount of noise is introduced into the “circuit”. Higher sampling rates generally yield better-quality waveforms. Keep in mind that most sound cards support only certain sample rates. Dither Use Dither to reduce noise and distortion to figures below their current levels through the addition of small amounts of white noise. you should enable this option for best results. Resolution Use this control to choose the bit resolution to convert to. the result is far preferable to the increased distortion that you would otherwise be listening to at low signal levels. and 100% for both values when converting to Stereo. Most vocal tracks are positioned in the middle of the stereo field inphase.76 CHAPTER 6 Edit Menu – Edit View Sample Rate The sampling rate you choose determines the overall bandwidth (how many frequencies can be encoded within the audio signal). the right channel only. so converting the signal so that it’s out-of-phase will often greatly reduce or eliminate the vocal track’s level. the exact same contents are on both channels) to a Mono waveform. Low/High Quality Use this slider to adjust the quality of the sampling conversion. the Dither options are enabled. the appropriate filter will help keep false frequencies from being generated at the low end of the audio spectrum. During downsampling and upsampling. or choose a common sample rate from the list. a low-quality setting will sound almost identical to a high-quality setting. but the conversion process takes longer. This often results in a cleaner sounding mono recording. When converting a stereo recording of monaural material (that is. When you convert to Stereo from Mono or vice-versa. try setting either the Left Mix or Right Mix to 100% and the opposite channel to 0%. Enter any sample rate directly. When converting from Mono to Stereo. but results in certain high frequencies being “rolled-off ”. To remove all or most of the lead vocals from many stereo music recordings. leading to muffled-sounding audio. Pre/Post Filter In general. Higher values retain more high frequencies while still preventing aliasing of higher frequencies to lower ones. This way. A lower quality setting requires less processing time. Note: When converting to lower resolutions. you’re given the option to adjust the mix of the left and right channels. When converting to a lower resolution. Usually values between 100 and 400 do a fine job for most conversion needs. this percentage controls the amount of signal from the respective channel that will be mixed into the final mono waveform. The most common mixing methods are to use 50% of both left and right channels when converting to Mono. you can choose the relative amplitude (measured in percentage) with which the original mono signal will be placed into each side of the new stereo signal. dithering allows you to hear sounds that would otherwise be masked by the noise and distortion limits of 8-bit audio (or quieter than the 16-bit limit provides when converting from 32-bit. When upsampling. or any balance point in between. especially if the original recording was made or played back on a tape recorder with improperly aligned heads. Channels Choose whether the new sample type will be Mono or Stereo by pushing the desired button. You should use high-quality settings whenever you downsample from a high sample rate to a low rate.

however. This means that bits that aren’t used are simply chopped off and discarded. Enable Dithering Check this box to activate Dithering. but you can choose less noise to be placed at one frequency at the expense of placing more noise at another.d. .d.f.8dB 6dB 4. “choppy” sound that resembles falling rain or static. Shaped Triangular. or any value between -1 and +1).d.f. Adobe Audition truncates instead. Rectangular Triangular Gaussian Shaped Triangular Shaped Gaussian SNR Loss 3dB 4. other unwanted harmonic distortion noise will appear. Generally.7 give the best results without adding too much noise. Gaussian.ADOBE AUDITION 77 User Guide If Dither isn’t checked. types are available from the drop-down list: Rectangular.f.8 being chosen is the same as that of 0..3. the likelihood of a value of -0. distortion. because it gives the best tradeoff between SNR. The Rectangular function means there’s an equal chance that the noise value added will lie anywhere between +1 and 1 (i. thus no harmonic distortion appears.) p. and Shaped Gaussian. (You can usually get away with lower values for the Dither Depth when you use Noise Shaping. This gives a “crackly” effect that fades in and out on very quiet audio passages. that as this value is lowered. meaning that the noise that’s heard doesn’t depend on the frequency of the dithered audio. quiet audio passages will just fade in and out of a disruptive. Triangular. p. values of 0.5). The SNR Loss is measured against the undithered case. and noise modulation. Dither Depth (bits) This sets the bit amount of Dither to be applied.8dB 6dB Modulation Yes No Negligible No Negligible Usually a Triangular p. the chance of 0 being chosen is twice as great as the chance of choosing 0. You may also specify that no noise shaping is used.d.2. of course.: The “probability distribution function” controls how the dithered noise is distributed away from the original audio sample value. Note. the audible noise floor rises and falls depending on the amplitude of the signal.5 or -0.e. or 0.e. The same amount of noise overall is present. so generally one doesn’t want this either. The Triangular function chooses random numbers that are generally closer to 0 than to the edges -1 or +1 (i.2 to 0. Noise Shaping Select one of the several noise shaping presets (known as “noise shaping curves”) to have Adobe Audition determine the placement when moving noise to different frequencies. function is a wise choice. Five p.f. your preferences.. uncheck the box to turn Dithering off. Whether or not dithering is used depends on the audio that’s being converted and. Note: If Dithering isn’t enabled. All dithering distribution functions can linearize the quantization noise. If modulation is present.

1 kHz or 48 kHz 44.1 kHz or 48 kHz 44.1 kHz or 48 kHz 44.1 kHz or 48 kHz 44.1 kHz or 48 kHz 44. final sample rate. and just choose the one that sounds the best.1 kHz or 48 kHz 44. . you may be able to get away with lower Dither depths to reduce the overall background noise level.1KHZ 48KHZ 96KHZ Sample Rate 44. Curve Noise Shaping A Noise Shaping B Noise Shaping C1 Noise Shaping C2 Noise Shaping C3 Noise Shaping D Noise Shaping E Noise Shaping E2 44. and bit resolution. without introducing a lot of unwanted harmonic noise. there are no really good noise shaping curves for audio at 32kHz or lower. feel free to try the different curves to see if they help at all. By introducing noise shaping.1 kHz 48 kHz 96 kHz Note: In general. With audio at those sampling frequencies.1 kHz or 48 kHz 44. The type of curve to use depends on the source audio.1 kHz or 48 kHz 44.78 CHAPTER 6 Edit Menu – Edit View Note: Different curves result in different types of background noise.

The greater a signal’s amplitude component within a specific frequency range. Waveform View Adobe Audition offers two ways to visualize waveform data. tabbed window allows you to easily open and close files. you’ll go to the Multitrack View. the brighter the displayed color will be. while higher frequencies are visualized from the middle-to-top part of the scale. choose effects with ease. Multitrack View Access this command to go to Adobe Audition’s Multitrack View. You can also use the F12 key to quickly switch between Multitrack and Edit View. Data is shown as vertical spikes that represent relative volume. quickly send waveforms to the Multitrack Display.79 Chapter 7: View Menu – Edit View T he View Menu displays options that relate to changing the display or viewable area when you’re in the Edit View Mode. This handy. This mode is handy for spotting which frequencies are most prevalent throughout the waveform. this button’s appearance changes to let you know that if you push the button. Colors range from dark blue (which means that next to no amplitude components exist in this frequency range) to bright yellow (frequencies in this range are high in amplitude. Spectral View Spectral View is the other method Adobe Audition utilizes to represent waveform data. Pressing the leftmost button in the Edit View’s File toolbar takes you to Multitrack View mode. Note: More information about the Organizer Window can be found in the “Looking at the Work Area” chapter. a checkmark is shown next to their menu entries to designate that they’re active. For many of the items. .) Lower frequencies are displayed near the bottom of the display. Show Organizer Window This command lets you see Adobe Audition’s Organizer Window. and more. Waveform View is the default. while time is visualized horizontally. when you’re working in Edit View. Spectral View makes it easy to view the frequency components to an audio file over time. where you can digitally mix up to 128 tracks to one or more sound cards. The face of the View button represents the target View that the system will “jump to” when pressed. For example.

The upper part of the Wave Display showing the Cursor Handle and three Cue Handles . right-click on its grab bar and select Close from the pop-up menu. Each type can be a point or a range. This means you can reposition it at one of several places in the Adobe Audition interface. you can even detach the Play List window and have it float above Adobe Audition’s main window. you can simply uncheck the Cue Play List item on the Edit menu to close it in either docking or floating mode.80 CHAPTER 7 View Menu – Edit View Show Cue List The command opens the Cue List window. To close the Cue List window when it’s floating. • A range has both a start time and an end time (for example. They may be thought of as virtual markers. you can drag its beginning and end points to different times.566 to 3:07. all of the waveform from 1:08. or for assembling in Adobe Audition’s Play List. Or.379). If a Cue is a range. To get rid of the Cue List window when it’s docked. Cue List Dialog with Edit Cue Info Mode Active An unlimited number of cues may be defined and saved in the Cue List for later recall. click on the “X” control in its title bar. • A point refers to an exact cursor position within a waveform (for instance. Adobe Audition has four types of Cues. About Cues Cues are time offsets or locations defined within a waveform. which is a dockable window. 1:08. Or.566 from the start of the wave).

Creating Cues and Ranges To add a specific point in a waveform (say. Note: Cues are preserved in the waveform when the file is saved. (Some CD players offer controls for cueing indexes. although it doesn’t really make sense for indexes to be ranges.ADOBE AUDITION 81 User Guide Here are the four cue types: • Basic: Basic Cues are used to mark important sections of the waveform for later reference (for example. Then add a cue. to remind yourself of an editing point). Cue Handle Context Menu Right-click on a Cue Handle (a Cue-named triangle at the top and bottom of the Wave Display) to display the Cue Handle context menu. • Right-click on the Wave Display and choose Add to Cue List. left-click on the waveform at the exact place where you wish the cue to be. • Right-click on the Cursor Handle (the triangle at the top and bottom of the Wave Display directly over and under the play cursor) and choose Insert in Cue List. or Ctrl+F8 (for an Index Cue). They’re also used to specify stop and start positions for the Adobe Audition’s Play List. Shift+F8 to add a Track cue. or Insert CD Index Marker. Indexes are markers within a CD track.) Also. The easiest way to make a range is to highlight a selection in the waveform. but only if the Save extra non-audio information box is checked in Adobe Audition’s Save Waveform As dialog. all the audio from two seconds to five seconds. Insert CD Track Marker. just highlight the range in the Wave Display and do one of the following: • Click on the Add button in the Cue List window. . If you use the Find Beats and Mark part of the Auto-Cue feature (Edit > Auto-Cue). or Ctrl+F8 to add an Index cue. • Press F8 to add a Basic cue. To add a specified range (for instance. • Beat: Beat Cues are just like Basic Cues. as measured from the first part of the waveform). All four Cue types can be ranges as well as points. • Index: Index Cues are also just used for CD burning. either through the Cue List or by pushing F8 (for a Basic Cue). • Right-click on the Cursor Handle (the triangle at the top and bottom of the Wave Display directly over and under the play cursor) and choose Insert in Cue List. They indicate a split in tracks for an audio compact disc. do one of the following: • Click on the Add button in the Cue List window. • Press F8 to add a Basic cue. or Insert CD Index Marker. or Ctrl+F8 to add an Index cue. but they’re specifically for marking musical beats. • Track: Track Cues are only used for burning CDs. the time between the track marker that begins a track and the first index in that track will show up on the player as “negative time”. Adobe Audition will mark each beat with a Beat Cue. three seconds from the beginning of the waveform) to the Cue List. Shift+F8 (for a Track Cue). Then. Shift+F8 to add a Track cue. Insert CD Track Marker. • Right-click on the Wave Display and choose Add to Cue List.

• Change Cue Type: Use this entry and its submenu to change a Cue from one type to another. or Index. this command turns it into a point Cue. • Make Range: If the Cue is already a point cue. To deactivate the automatic play mode. one yellow and one blue. Shift+F8 to add a Track cue. You can also use the drop-down list to pick the type of cue: Basic. A checkmark designates the current Cue type. The Cue Handle is split into two handles. • Delete: This command deletes the Cue. and then type in the new time or name. etc. Begin. To hide the cue info fields. a left-click on the Length column header will place all of the items in the Cue List from shortest to longest. Edit Cue Info Button When you press this button. with the start time of the range becoming the time for the point Cue. and Desc (the cue’s description). Drag either or both to set the beginning and ending times of the range. Add Press this button to add a Basic cue – either an exact point or a specified range – to the Cue List. the cue will automatically play whenever the cue is selected in the Cue List. Along with telling you the type of data in each column (Label. The two parts of the range Cue Handles are merged into a point Cue Handle. Length (the cue's length). Label (the cue's name). even if you move the ranges around. . End. End (the cue’s ending time). • Make Point: If the Cue is a range cue. click on the Auto-Play button to release it. Auto-Play If the Auto-Play button is depressed. Left-click on the desired field to make it active. It behaves similarly to the column bar in a Windows Explorer window. or if the Cue List is already displayed. removing it from both the Cue List and the Wave Display. You may also select and slide a column header horizontally to rearrange the sequence of column headers. makes it the active window. Here are the major components of the Cue List window: Column Bar The column bar runs along the top of the Cue List window. this command turns it into a range cue.82 CHAPTER 7 View Menu – Edit View The Cue Handle context menu The Cue Handle context menu has these commands: • Go To Cue List: Accessing this command displays the Cue List. You can also press F8 to add a Basic cue. or Ctrl+F8 to add an Index cue to the Cue List.). For instance. Track. Note: Adobe Audition automatically makes the second point of a cue range the end. fields used to modify the information in the highlighted cue appear: Begin (the cue’s starting time). you can click on a column header to sort the data in that column. Beat. press the Edit Cue Info button once more.

Keep in mind that you’re limited to merging just two ranges. but there are no limitations on the number of cue points you can measure. Just as in a Windows Explorer window. Here are the components of the Batch Process Phrases dialog: Set Amount Of Silence Select this item to add silence between cue points in the currently shown waveform. etc. Merge Click on the Merge button to combine highlighted entries in the Cue List into a single. Fill in the desired values (measured in seconds) in the Add silence before: and Add silence after: fields. pressing this button brings up the Batch Process Phrases dialog. You lose the information entered in the Label and Desc fields for the subsequent merged items. Note: The new merged item inherits the name from the earliest item chosen. Press the OK button to initiate the silence-adding process. Filename Prefix Enter the desired Filename Prefix (such as “phrase”) in the field provided. combined cue that spans the earliest and latest locations in the two cues. or hold down the Ctrl key as you click to select and highlight multiple non-contiguous files. or depress the Ctrl key as you click to select and highlight multiple non-contiguous files. Save to Files Use this option if you’d like to split the audio between cue points in the active waveform to new files.) as well as the correct extension based upon the output format you’ve chosen. you can depress your Shift key as you click to select and highlight multiple contiguous files. Adobe Audition automatically adds numbers after the prefix (phrase02. The Cue List’s Batch Process Phrases Dialog Note: At least one of the cues must be a cue range in order for the Batch button to be active. Batch If one or more Cue List range entries are highlighted. phrase03.ADOBE AUDITION 83 User Guide Del This button deletes all of the highlighted items in the Cue List. Hold down your Shift key as you click to select and highlight multiple contiguous files. .

Play begins at the currently highlighted item in the Play List and goes to [End]. The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times. To get rid of the Play List window when it’s docked. During playback the Play button turns into a Stop button. Insert Cue(s) Press this button to add the currently highlighted selection(s) from the Cue List to the Play List. allowing you to reposition it at one of several places in the Adobe Audition interface. Or. . To close the Play List window when it’s floating. you can simply uncheck the Show Play List item on the Edit menu to close it in either docking or floating mode. or at the end. looping selections if specified. if nothing is selected. enter the number of times you wish the selected Play List item to loop (play again). Here are the major components of the Play List window: Show Cue List Click on this button to display Adobe Audition’s Cue List window. Remove Click on this button to remove the selected Play List item. allowing you to select them. the Options… button will be enabled. Or. right-click on its grab bar and select Close from the pop-up menu. The selection is inserted before the currently highlighted Play List item. Play Pressing this button plays the cue ranges in the order listed. not just cue points. If the selected format has options. Play List Dialog The Play List window is a dockable window. The Show Cue List button is then replaced by the Insert Cue(s) button. Note: The cues must be cue ranges. Each item in the Play List can loop a different number of times. you can detach the Play List window and have it float above Adobe Audition’s main window. Output Format Use this drop-down control to select the desired output format. Loops In this field. for this to work. Press the Browse… button to open the Choose Destination Folder window. The Play List can include an unlimited number of entries. click on the “X” control in its title bar.84 CHAPTER 7 View Menu – Edit View Destination Folder This is the folder where Adobe Audition will place your new “split” files. Show Play List Select this item to display Adobe Audition’s Play List window.

such as Compact Disc. stop. Show Level Meters Click on this option to display Adobe Audition’s Level Meters. or one of several SMPTE values. Show Transport Buttons Check this item to display Adobe Audition’s Transport Buttons. and fast forward the active waveform or session. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second). Move Down Click on this button to move the highlighted item in the Play List down one position. The Level Meters window is dockable. The Transport Buttons window is dockable. the Sel/View Controls window is displayed. Show Sel/View Controls When checked. but this can easily be changed by right-clicking on the Time Window and choosing another option. Show Zoom Buttons Select this item to display Adobe Audition’s Zoom Buttons. Note: More information on the Transport Buttons can be found in the “Looking at the Work Area” chapter. These meters display both record and playback levels. The selection and display range are each shown using the current time display format. Note: More information on the Zoom Buttons can be found in the “Looking at the Work Area” chapter.) This window shows the beginning and ending points. as well as the total length of both the selection and the section of the waveform that’s currently viewed. (“Sel” is an abbreviation for Selection. Note: More information on the Sel/View Controls window (which is dockable) is in the “Looking at the Work Area” chapter. Show Time Window Select this item to show Adobe Audition’s Time Window. Samples. . This dockable window displays the current position of the playback cursor. allowing you to reposition it at one of several places in the Adobe Audition interface. Move Up Push this button to move the highlighted item in the Play List up one position. which appear by default near the bottom of both Adobe Audition’s Edit View and Multitrack View windows. and stops on the next item in the Play List. The Zoom Buttons window is a dockable window. rewind. the next item in the Play List will be played every time Autocue is pressed. which are used to play.ADOBE AUDITION 85 User Guide Autocue This control plays the currently highlighted item in the Play List (or the first item if nothing is highlighted). pause. Thus. Bars and Beats. Note: More information on the Time Window can be found in the “Looking at the Work Area” chapter.

SMPTE 30 fps Time is displayed in the SMPTE format where 30 frames equal one second. this option would show as “Custom (15 frames/sec)”. decimal) format. Status Bar. SMPTE 24 fps (Film) Use this SMPTE time format when working with film. . especially for windows that are only useful when viewed in a certain aspect ratio. Decimal (mm:ss:ddd) This display type numerically indicates time in an mm:ss:ddd (minutes. dockable window called a “placekeeper”. tempo. the x-axis (time) ruler. including Decimal. Show a Placekeeper Select Show a Placekeeper to create a blank. etc. You can adjust the number of ticks per beat. which is described below. right-clicking on the horizontal time waveform ruler or the main time display will pop-up a window that allows you to select between formats. Bars and Beats This displays time in a musical measures format of bar:beat:ticks per beat. SMPTE 25 fps (EBU) Time is displayed using the standard European frame rate standard of 25 frames per second. Custom (XX frames/sec) This option will default to the time code setting that was last selected in View > Display Time > Define Custom Frames… For example. Selectively cycle through the available time formats by double-clicking on the waveform ruler. time status boxes.97 frames-per- second. where each second equals 75 frames. Compact Disc. In addition. different versions of SMPTE.97 frames-per-second. Samples This display type indicates time numerically using the actual number of samples that have passed since the beginning of the edited file as a reference. Note: More information on Placekeepers can be found in the “Looking at the Work Area” chapter. where 24 frames equal one second. Display Time Format The Display Time Format menu lets you choose between several time display readouts. Use it to more accurately define where you want a dockable window to be. and Custom time code frame rates.97 Use this option to display time in the SMPTE Non-Drop format of 29. Adobe Audition will then use the format chosen here when referencing time: the Time Window. Bars and Beats.86 CHAPTER 7 View Menu – Edit View Note: More information on the Level Meters can be found in the “Looking at the Work Area” chapter. SMPTE 29.97 fps) This display type numerically indicates time in the SMPTE Drop format of 29. SMPTE Drop (29. if a custom time code setting of 15 frames-per-second was chosen in a previous session. seconds. Samples. Compact Disc 75 fps This time format used is the same one utilized by audio compact discs. and other properties in the Edit Tempo… dialog.

Edit Tempo Dialog Here are the major components of the Edit Tempo window: • Extract from Selection: The number entered in the Bars Highlighted field specifies the number of bars highlighted in a selection. you can enter the correct value here to be used in extracting tempo information. • Offset: The information in the Current Beat At field is the bar/beat information for the left edge of the selection (or the current cursor point. You can set Ticks per Beat to any value from 2 to 3600. displays the number of beats that occur over a 1 minute interval. This number is usually the top number in the musical piece’s time signature.). 6 for 6/8 time. For instance. Calculate this value by using the Extract button. You cannot edit this value. if no selection is made). Adobe Audition uses the BPM value in displaying ruler information for the Bars and Beats time format. Use this function to calculate the tempo or BPM (Beats Per Minute) value based on the currently highlighted selection.00. enter 4 for 4/4 time. When extracting from a selection. then a time setting of 4:2. A push of the Extract button will then calculate the tempo and fill in the Beats per Minute and the Offset values. etc. according to the Bars and Beats time format. • Extract: Use this button to extract tempo information from the highlighted selection. Modifying the Current Beat At figure updates the Song Start value based on the current tempo settings. and enter the number of known highlighted bars. • Use the Beats per Bar field to assign the number of beats that form one measure. 3 for 3/4. Song Start is the number of milliseconds into the file before the measure 1:1. . any settings that follow the base time format will work in Bars and Beats mode as well (like Viewing Range).00 begins. Make sure you first correctly fill the Beats per Bar field below (4 for 4/4 music. Press the Reset 1:1 to Cursor button to change the value in the Current Beat At field to 1:1. Also. or 3 for 3/4 time. in common time. • Tempo • Beats per Minute. If you use 32 ticks for each beat. If this number is incorrect (which it probably will be if you haven’t yet defined the tempo). Adobe Audition assumes that this is a downbeat. or the value displayed after the decimal point.ADOBE AUDITION 87 User Guide Edit Tempo This command brings up the Edit Tempo window. as you’d expect. • Ticks per Beat reflects the number of sections each beat is divided into.16 would be the eighth note (half way) between beats 2 and 3. You can change the actual bar and beat number for the left edge of the selection (or the current cursor point).

Sample Values This display type numerically indicates amplitude as the data’s exact sample value of the data.88 CHAPTER 7 View Menu – Edit View • Define Custom Frames: Clicking on this option brings up the Adobe Audition Settings screen open to the General tab. if any. where you may enter a new value (measured in frames/second) in the Custom Time Code Display field. If no items are checked. Toolbars Use this menu to specify which. Note: All of the displays can go to greater values for 32-bit audio if the audio goes above 0dB. the toolbar area will disappear until you check at least one icon group. right-clicking on the vertical scale waveform ruler displays a pop-up window that will let you select between formats. groups of icons you’d like to display on Adobe Audition’s Edit View toolbar. Checkmark the desired icon group(s) to display. As with the Display Time Format. Toolbars Menu . or you can selectively cycle through the available time formats by double left-clicking on the vertical scale waveform ruler. including Sample Values. the vertical scale is always in Hertz (Hz). Note: When the wave display is set to Spectral View. Decibels This display type numerically indicates amplitude using a dB scale value that ranges from -Infinity to Zero. there are several ways you can change this format. Normalized Values. In addition. and Decibels. Normalized Values This display type numerically indicates amplitude on a normalized scale value that ranges from -1 to 1. Percentage. Choose View > Display Scale Format from the menu. Percentage This display type numerically indicates amplitude on a percentage scale value that ranges from -100% to 100%. Vertical Scale Format This menu lets you choose between several vertical scale formats for use in the y-axis vertical) ruler.

Text Fields tab . Or. Note: Make sure the Save extra non-audio information box is saved in Adobe Audition’s Save Waveform As box in order for this additional data to be embedded in your waveforms. Wave Properties Dialog . Text Fields Tab Adobe Audition allows you to embed text-based data in Windows . as well as standard ID3 tag information in .wav files that use the RIFF LIST INFO and DISP type 1 formats. this information remains with your audio file throughout its lifetime. Provided that other audio editors support this information. Note: More information on the Status Bar can be found in the “Looking at the Work Area” chapter.mp3 files. To hide the Status Bar. and get information about the active waveform. Wave Properties Access this command to bring up a tabbed window that lets you embed text and graphics. two rows. Status Bar Access the items on the Status Bar submenu to turn on Adobe Audition’s status bar – which runs along the bottom of the Adobe Audition window – as well as decide which information fields you wish displayed there. right-click on it and select the Hide menu option. You can also find this menu by right-clicking on the status bar.ADOBE AUDITION 89 User Guide Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row. uncheck the Show from the View > Status Bar submenu item. or three rows. specify certain parameters.

a CD. For example: Guitar. • Genre: Specify the musical classification of the sound.. All rights reserved. enter the name of the person or organization that supplied the original source material. or Jazz. they can add their name to the list. • Software Package: The name of the software used to digitize and edit this file (such as Adobe Audition) goes here. • Original Artist: Enter the name of the one who created the sound initially. Rock. Keyboard. If you don’t want this extra information to be tagged with your wave files. since it will be displayed in OLE objects and the like. 2001. Please separate names by a semicolon and a space. Examples are: The Rolling Stones. then it needs to be written as: 2001-06-08. the text. • Key Words: If you plan to organize waveforms in software that supports searching off the Key Words field. these fields are available: • Display Title: This should describe the sound. such as Ann Wilson.” . Vocal… • Engineers: This field is used to store the name(s) of the engineer(s) who worked on the file. using “0” as a place holder in single-digit values. Key words should be separated by a semicolon followed by a space. You can use this space for the names of record companies or whoever supplied you with the source. Examples include Epic Records or. the Software Package and Creation Date fields are automatically filled by Adobe Audition. The date should be in the format yyyy-mm-dd (year-month-day). Voice. an LP. Radio Industry. • Digitizer: Who did the actual digitizing? They should put their name right here. or MP3 (ID3 Tag). the name of the artist. you could put in Country. Trumpet. so that the editing history can be tracked. • Comments: This area is for making any comments you wish. George Jetson. if the date the original recording was made was June 8. such as a cassette deck. but end each sentence with a period. This field should be as short as possible. For example. • Copyright: Any copyright information for this file should go here. Examples: Live Band. • Fill * Fields Automatically: If the Fill * Fields Automatically box is checked. Feel free to include any special effects or enhancements you made to any preexisting waves.e.90 CHAPTER 7 View Menu – Edit View Use the Text Field Names drop-down list to choose which field format you’d like Adobe Audition to display in the Text Field window: Standard RIFF. or even your name. Classic Rock. • Original Medium: Describe where the sound came from originally. New Age. don’t hit the Enter key after completing a line). If you select Standard RIFF. or edited the file. or if there are words in the waveform. Eric Clapton… • Digitization Source: Enter where the sound was digitized from. then you’ll want to include key words here. • Creation Date: This field should contain the date that the subject matter was created. For instance. Example: (c)2001 G. When someone new edits the file. You might want to describe the sound card used here as well. Concert. or a microphone. Willikers Corporation. Ted added reverb effects and noise reduction using Adobe Audition and it’s ready to be mastered. if recorded live. Don’t use line returns (i. simply un-check this box. • Source Supplier: In this field. • Name: The title of the waveform goes here. Sample entry: “It took 3 hours to get this recording right.

“sale starts tomorrow”. .a. Feel free to include a description of the instruments used. type in the date the audio production is scheduled to begin airing. the Creation Date fields is automatically filled by Adobe Audition.k. “Promo”. measured in milliseconds from the beginning of the audio file. • Start Date: In this field. then it needs to be written as: 2001-06-08.” If you select Radio Industry. Sometimes copyright information is placed here as well. such as “Joe Jock”. • Outcue: A description of the ending (such as the last few words) of the production piece goes here. using “0” as a place holder in single-digit values. and are created by pressing Ctrl+J. It might be “member FDIC”. such as “Joe’s Chevrolet March Madness Sale” or “Kiss-FM Legal ID”.) • Producer: Who produced this piece of audio? The name of the producer goes here. where the secondary tone (a. “Vicki Voiceover”. • Advertiser: Place the name of the sponsor in the field. • Agency: Here’s where you enter the name of the advertising agency or production house.ADOBE AUDITION 91 User Guide • Subject: Use this field to describe the contents of the file. “Financial Institution”. called the chiba. For example. or “Bill Baritone & Susan Soprano”.<Ctrl+J><Ctrl+J>The shakuhachi was developed in the 15th century from a Chinese end-blown flute. • Fill * Fields Automatically: If the Fill * Fields Automatically box is checked. Examples include “First National Bank” or “In House Promo”. or “(music up and cold)”. • Category: This field is for the category this audio production belongs in. “Auto Dealer”. and “Stager”. goes here. For instance: “The shakuhachi of Japan. (This tone is used to automatically start the next audio element when used in an automation system. simply un-check this box. • Intro Time (ms/begin): The production piece’s introduction time. the “trip tone”) appears. etc. Examples include. The date should be in the format yyyy-mm-dd (year-month-day). If you don’t want this extra information to be tagged with your wave files. measured in milliseconds from the ending of the audio file. • Account Executive: The name of the salesperson in charge of the advertiser’s account goes here. • Creation Date: This field should contain the date that the subject matter was created. • Sec Tone (ms/end): Enter the time. • End Date: This is where you enter the date the audio production is supposed to end its run. the fields in the Text Fields change to accommodate information for commercials and other types of audio files used by radio broadcasters. • Talent: Enter the name of the person(s) who voiced this audio production. where someone can find the song recorded. 2001. They include: • Description: This is where you enter the name of the production. if the date the original recording was made was June 8. Line returns are OK.

• Fill * Fields Automatically: When this box is checked. type in the number (up to two characters) of the track in this field. cut 57. If the file is inserted into Adobe Audition’s Multitrack view. Don’t use line returns (i. but end each sentence with a period. or use Ctrl+V to paste in text from a Windows-based program such as a word processor or text editor via the Windows clipboard.e. don’t hit the Enter key after completing a line). Compression and reverb were added using Adobe Audition.92 CHAPTER 7 View Menu – Edit View • Comments: This area is for making any comments you wish. up to 30 characters. Selecting the MP3 (ID3 Tag) item from the Text Field drop-down menu activates these text fields. cut 3. Loop Info Tab Wave Properties Dialog – Loop Info tab Source Waveform Information Loop Select this option to tell Adobe Audition that the file is a loop. • Year: The year (up to 4 digits) the song was recorded or released goes here. • Album Name: The title of the album is typed into this field.1-compatible data: • Song Title: The title of the musical composition (up to 30 characters) goes in this field. • Genre: Select the musical category from the drop-down list of dozens of alphabetically-sorted choices. . while the doorbell SFX came from Sound Effects Library Disc 3. • Track Number: If the recording came from an album. so that the editing history can be tracked. • Artist: Enter the name(s) of the performer(s) here. This title can have up to 30 characters. it will automatically have looping turned on for that block. Sample entry: “Music came from Music Library Disc 17.. or enhancements you made to any preexisting waves. Feel free to include the name of any music. You can type in the copy directly. sound effects. allowing you to tag the loaded MP3 file with ID3v1. • Comments: Enter any general text about the recording here. up to 30 characters.” • Copy: Enter the copy for the production here. the current year is automatically entered into the Year field.

Tempo Matching Stretch Method Tempo matching determines how (if at all) the loop will stretch to match the session’s tempo. Tempo This is the number of beats per minute in the waveform. If the default values of 10dB and 9 milliseconds aren’t satisfactory. the Auto-Find beats option will be selected. Four options are provided: • If the Fixed Length option is chosen. and as such. . Frame Size (the number of splices per beat). • Resample will cause Adobe Audition to resample the loop to match the session’s tempo. Originator Enter the name of the audio file’s producer (up to 32 characters) in this field. the BPM (Beats Per Minute) is automatically calculated and entered into the Tempo box below. Options are provided for Quality (High. like drums. High. the pitch will be affected.ADOBE AUDITION 93 User Guide One Shot Choose this option if the file isn’t a loop. Don’t know the key? Press the Find Nearest button and Adobe Audition will scan the waveform to locate the closest match. you may elect to use them. the Tempo value is automatically calculated. This will cause the waveform to match pitch with a session that has a key specified when inserted into Adobe Audition’s Multitrack View. Key Use this drop-down menu to enter the waveform’s key. the file won’t be stretched to match tempo. When you do so. Medium. Medium. Number of Beats Enter the waveform’s number of beats in this field. • Select the Time-Scale Stretch option to stretch the file (just like Adobe Audition’s Stretch effect) to match the tempo of the session. and Low Quality options are available. you can change them in the fields provided. or when you fill in the Number of Beats field above. • The Beat Splice option actually tries to cut up the file at the beats to loop the file that way. EBU Extensions Tab Wave Properties Dialog – EBU Extensions tab Description Up to 256 characters may be entered in this field to describe the audio file. This only works on loops that have very sharp (short duration) sounds. If the waveform already has beat markers. Otherwise. Enter this figure directly. or Low). and the percentage of Frame Overlapping.

you’re welcome to enter a processing history (or any other text-based information) here manually. is 22). Here are the major components of the Sampler window: Target Manufacturer ID You can’t edit this information. Origination Date (yyyy-mm-dd) This field should contain the date that the subject matter was created. . As with the information in the View > Wave Properties > Text Fields window. Time Reference (since midnight) This field contains the time code of the audio file. but this field will show a proper value if a sampler has written a . if the date the original recording was made was June 8. calculated since 12:00 a. 10 p.wav file with this sampler information chunk present. this information should stay with your audio file through its lifetime. or programs (such as synthesizer uploading and downloading software) can be directly imbedded within your . However. with the hour represented in 24-hour (0 to 23) “military time” format (i. Sampler Tab Wave Properties Dialog – Sampler tab Technical information relating to other devices.ddd” (hour:minutes:seconds:thousandths of seconds) or samples options. Adobe Audition doesn’t automatically add any information in this field.wav files using the View > Wave Properties > Sampler information window.. Origination Time (hh:mm:ss) The time the audio file was produced goes in this field. systems. 2001. then it needs to be written as: 2001-06-08.m.94 CHAPTER 7 View Menu – Edit View Originator Reference You can enter up to 32 characters of reference information here about the producer. Coding History This field is used to contain a description of all coding processes applied to the waveform. using “0” as a place holder in single-digit values. For example. The format is hour:minutes:seconds.e.m. The date should be in the year-month-day format. Select from “hh:mm:ss.

Samplers can usually play loops forward. • If no loops are selected. Example: An audio file for a film soundtrack that would need to be triggered at 45 minutes.ADOBE AUDITION 95 User Guide Target Product Code You can’t edit this information. so manual adjustment after finding the note may be necessary. You can change the text in this field if you wish the sampler to think the data is at a different rate than it actually is. or back and forth and back again. the center of the entire waveform is used to gain the current note. If no area is highlighted. Note: Use this control to select this “base” or “root” note on a sampler that the current audio file is to be assigned to. and then going to this dialog and pressing the New button. which would probably really be A4 and 0 cents. New can still be pressed to add the entire waveform as a new loop. Sample Period The sample rate (or within 1Hz of it) is automatically placed into this box. The audio file’s original pitch will be preserved whenever this key is played on a sampler. you may get G#4 at 99. but this field will show a proper value if a sampler has written a . Each loop can be looped a different number of times. Sampler Loops New loops can be added by first highlighting the range area. the frequency at the center of that loop is entered into this field for the Note and Fine Tune fields. • If a sampler loop is selected in the Sampler Loops list. and the infinite loop would decay once the synth key is released). Currently this information is only saved in . The actual starting point. might have a frame rate setting of 30 frames-per-second with an offset of 00:45:14:29.wav file with this sampler information chunk present. Enter the number of cents above the Note that the tone actually is.99 cents. SMPTE Offset Use this field to enter the SMPTE trigger offset point for the currently loaded sample. SMPTE Format This field is used to enter in the SMPTE frame rate format for the currently loaded sample. backward. Note: This value can be off by a few hundredths of a cent. 15 seconds and 29 frames. . For instance. Fine Tune The actual tone can be entered in this text box in values as precise as 1/100th of a cent. or infinitely (as with a sustain loop.wav files. ending point or length may also be entered in directly by hand in the appropriate fields. Find using Analysis Press this button to have Adobe Audition analyze the audio file to automatically determine the Note and Fine Tune values.

For best results. (This box works similarly to the standard Windows color selector dialog. Date and Time Last Written. Size on Disk. Uncompressed Size. choose a 32x32 pixel image. You can see the waveform’s Filename. and Length.bmp or .) File Info Tab Wave Properties Dialog – File Info tab The File Info window displays non-editable file information about the active audio file. Folder.96 CHAPTER 7 View Menu – Edit View Misc Tab Wave Properties Dialog – Misc tab Press the Bitmap button in this window to browse your system for a . Want to use another color? Uncheck the Use default wave color box and the Waveform Foreground Color dialog appears to let you select another color. If the Use default wave color box is checked. .dib file that can be used to represent the audio file when it’s displayed in OLE-compatible applications and in Explorer. File Type. File Format. then the same wave color used for your current color scheme (the color of an unselected waveform in the Edit View wave display) is used.

Reverse is useful for creating special effects. Amplify The Amplify command provides the following options: . Reverse Select this command to have the current selection (or entire waveform. if no selection is made) play backwards by reversing the order of its samples. In other words. Amplitude Use the following commands in the submenu to alter the amplitude (volume level) of an audio file or selected range.97 Chapter 8: Effects Menu – Edit View T he Effects menu displays all the options that relate to waveform transformation (signal processing) functions when you’re in Adobe Audition’s Edit View mode. you’ll be able to do it – and lots more – here. so that all positive offsets are negative and all negative offsets are positive. if you want to apply a “cool” effect to your audio. Note: You must select part or all of your waveform first in order for Silence to work. both channels are inverted. If applied on a stereo waveform. Invert This function simply inverts the waveform’s samples. Inverting doesn’t produce an audible effect. but it can be useful in lining up amplitude curves when creating loops or pasting. Silence This option silences out the selected range of the waveform. Unlike deleting or cutting a selection – which splices the surrounding material together – Silence leaves the duration of the selection intact. and simply zeros the amplitude within it.

Amplify dialog – Fade tab . a figure below 100% or 0dB reduces the volume.98 CHAPTER 8 Effects Menu – Edit View Amplify dialog – Constant Amplification tab Amplification (Constant Amplification Tab) Move the slider(s) for the amount of volume change you wish to apply to the selection. Any figure over an amplification value of 100% or 0dB makes the selection louder.

For instance. Keep in mind that the actual amount adjusted varies with each sample. DC Bias Adjust Some recording hardware may introduce a DC bias. Any figure over an amplification value of 100% or 0dB makes the selection louder. choose an Initial Amplification value that’s lower than that of the Final Amplification value. Uncheck the Lock Left/Right box to adjust the channels separately. a figure below 100% or 0dB reduces the volume. Choose the Absolute option to tell Adobe Audition the final DC value you want. A super-lowcut filter is initiated to achieve this. However.ADOBE AUDITION 99 User Guide Initial Amplification (Fade Tab) Move the slider(s) for the amount of volume change you wish to apply to the beginning of the selection. Linear Fades (Fade Tab) Select this radio button if you want the waveform’s sample values to be faded in an even. . (However. producing a steeper slope at one end of the fade (depending on whether you are fading in or out). and checking the DC Bias Adjust box ensures new recordings are perfectly centered. enter a positive or negative percentage. if you have a significant DC change in one area of the wave. Click on the OK button to apply these adjustments. the Absolute option will make all parts the same. Adobe Audition scans the selection and automatically adjusts the amplification sliders to the volume level that will normalize the selection to the entered peak level. as entered as a percentage in the L and R boxes. linear fashion. To achieve a fading out effect. which results in the recorded waveform appearing to be above or below the normal center line in the Wave Display. For example. The Find Zero Now button will be enabled. Press it to scan the waveform and automatically enter the correct L and R percentages. Calculate Normalization Values When you press the Calculate Now button. Final Amplification (Fade Tab) Move the slider(s) for the amount of volume change you wish to apply to the end of a selection. at that boundary where the DC changes.) Select the Differential option to analyze the entire selected area to get the DC offset. Lock Left/Right With a stereo waveform loaded. This lets you tweak the stereo balance or create cool panning effects. Many waveform transformations require that the signal be centered. a figure below 100% or 0dB reduces the volume. the volume of the left and right channels may be individually adjusted. To introduce a DC Bias by skewing the entire selected waveform above or below the center line. This fades the amplitude of a signal at a constant rate. Any figure over an amplification value of 100% or 0dB makes the selection louder. which will produce a smooth slope from beginning to end. there will be a dip or peak right at the boundary point. there are times when you want the amplitude of the left and right channels to be simultaneously lowered or raised. To achieve a fading in effect. Check the Lock Left/Right box to make the scroll bars for the left and right channels to work in tandem and move together. and one of -50% moves it down halfway. choose a Final Amplification value that’s lower than that of the Initial Amplification value. a setting of 50% moves the entire waveform up halfway. and adjust every sample by the inverse of that exact amount. The main use for the option is to cancel out a DC that’s not constant throughout the waveform. Logarithmic Fades (Fade Tab) This option tells Adobe Audition to use a logarithmic-style fade (also known as a “power fade”).

The selection is played over and over (“looped”) until you press the Stop button. Preview Press the Preview button to audition the selected amplification setting before you apply it to the waveform. . in a circular pattern over time. Channel Mixer dialog Binaural Auto-Panner The Binaural Auto-Panner spatially locates the audio left and right. this gives you the opportunity to make and hear amplification adjustments as the selection is looped. Check the Bypass box to hear the waveform without any changes in amplification for a quick “before and after” comparison. amplification values are entered and shown in decibels. either the left or right channel is delayed so that the sounds will appear at each ear at different times. More information on presets can be found in the “Looking at the Work Area” chapter. Presets Adobe Audition comes with a nice selection of amplification presets including several fades and pans.100 CHAPTER 8 Effects Menu – Edit View View all Settings in dB When checked. In order to spatially encode the signal. Since Adobe Audition’s Previews are dynamic. tricking the brain into thinking they are coming from either side. otherwise they’re entered as a percentage of the original waveform.

the line will not ordinarily travel directly through the control points. see the “Looking at the Work Area” chapter. below. The more control points there are clustered together. The left and right channels will delay and un-delay following a smooth curve such that the delay difference between the left and right channels will follow a sine wave pattern.ADOBE AUDITION 101 User Guide Binaural Auto-Panner dialog Frequency Graph Time is represented along the x-axis (horizontal edge). rather. even though the brain will hear the audio as traveling around the head in a circle. the points control the shape of this curve. Spline Curves Check this option to generate a smoother. click to create more control points near the point in question. When Smooth Wave is checked. the closer the spline curve will be to those points. but are achieved by holding one channel constant (at no delay) while the other channel is delayed following half a sine wave. To get the curve closer to a control point. which will cause less noticeable distortion in either channel when heard independently. The boundary between holding non-delayed and delaying signal is discontinuous in that the dD/dt (difference in delay over time) jumps from zero to a positive delay value without hitting any values in-between. As you go to the right of the graph. The readout below the graph displays the current x. the audio that appears at the left and right channels will be smoothed out. When you use spline curves. y position of your mouse. When Smooth Wave isn’t checked. the net delays are the same. . Smooth Wave When checked. and frequency along the y-axis (vertical edge). The settings chosen will vary between the low and high settings depending on where the graph dictates the signals should be. Choose the highest and lowest frequencies that are represented on the graph with the scroll bars located in Low/High Settings. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). you are setting the frequency characteristics of the highlighted sample later and later in time. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). best fit curve instead of a straight line between control points on the graph. the dD/dt is always continuous.

More information on presets can be found in the “Looking at the Work Area” chapter. Mixing a file that has been binaurally processed to the left with one that has been binaurally processed to the right (in the same frequency range within 2 Hz) has interesting effects. For instance. Whenever both channels are inverted. For example. This lets you create new stereo mixes using the existing right and left channels as input sources. Low Settings all correspond to the lower part of the graph (points dragged near the bottom). Presets Adobe Audition comes several Channel Mixer presets..) New Left Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new left channel. a frequency of 0. By recombining and inverting the channels. For example. • Frequency: This is the binaural frequency that will be encoded into the final process. Invert Check the Invert box for either channel to invert that channel’s phase polarity (i. However. The default values are automatically set so that the waveform’s original gain values will be unchanged. Low/High Settings There are two sets of settings for control of binaural frequencies. Higher intensities work well with lower binaural frequencies. For special spatial panning effects. and valleys will become peaks).e. inverting only one channel places the channels out-of-phase and greatly changes the sound when played back (whereby the previously in-phase information is canceled out). removing all control points. the Channel Mixer can’t make the waveform any louder than it already is. select an L value of 50 and a R value of 50 to sum equally the current L and R channels to the new right channel after mixing. there will be no perceived difference in sound. • Centering: You can trick the brain into thinking the binaural signal is coming from the left or right. you can create some interesting stereo imaging effects. Enter an L value of 100 and a R value of 0 to make the new right channel contain the material of the original left channel.1Hz will pan the audio in a "full circle" over the period of 10 seconds. Enter an L value of 0 and a R value of 100 to make the new left channel contain the material of the original right channel. choose wave frequencies of 1Hz or less. • Intensity: This controls the intensity of the binaural encoding.102 CHAPTER 8 Effects Menu – Edit View Flat Pressing the Flat button will reset the graph to its default state. Channel Mixer The Channel Mixer enables you to alter the left/right balance of a stereo waveform. choose an L value of 50 and an R value of 50 to sum equally the current L and R channels to the new left channel after mixing. . New Right Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new right channel. and High Settings affect the top. A mono source (left and right the same) will appear to move from left to right and back at period of 1/frequency. the peaks will become valleys. (In other words.

. or so that the waveform’s overall dynamic range is kept at roughly the same level. this gives you the opportunity to make and hear Channel Mixer adjustments as the selection is continuously played. Control of the Dynamics Processor is carried out through any of the four tabbed sheets: Graphic Tab Dynamics Processing dialog – Graphic tab . This lets you limit or compress the dynamic range of a sample so that the perceived loudness is kept below a defined limit. Check the Bypass box to hear the waveform without any changes in channel mixing for a quick “before and after” comparison. based on its input level.ADOBE AUDITION 103 User Guide Preview Press the Preview button to audition the selected Channel Mixer setting before you apply it to the waveform. Try using the Channel Mixer’s Vocal Cut preset to create your own karaoke backing tracks. noise) are eliminated. It should remove most (if not all) of the lead vocal from many contemporary stereo music recordings. Since Adobe Audition’s Previews are dynamic. or so that signals that fall below a certain threshold (i. Dynamics Processing The dynamics processor varies the output level of a waveform.e. thereby increasing the perceived dynamic range. You can also expand or gate the signal so that low-level signals are reduced in level. The selection is looped until you press the Stop button.

thereby altering the dynamic range.. since every input value goes to the exact matching output value. To get the curve closer to a control point. Note: For a graph to be invertible. leaving everything else unchanged. rather. Adjusting the shape of this line will adjust the input or output assignments. You can also draw an inverse line (a line from upper-left to lower-right) that will dramatically boost low amplitudes while dramatically suppressing high amplitudes (that is. For example. 0) and its output level must always increase from left to right (i. Invert The Invert button changes the graph to one that will function as the exact opposite. Splines Check this option to generate a smoother. if an effect function with a compressor characteristic is being displayed.104 CHAPTER 8 Effects Menu – Edit View Graph The graph depicts input level along the x-axis (left and right) and the new output level along the y-axis (up and down). -100 and 0. Flat The Flat button resets the graph to its default state of an unchanged signal. The more control points there are clustered together. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). the closer the spline curve will be to those points.e. A line that flows directly from the lower-left to the upper-right (default) depicts a signal that has been left untouched. you can boost all input that has a level of around -20dB. click to create more control points near the point in question. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). pressing Invert changes the graph to one with the corresponding expander characteristic. each control point must be higher than the one to its left). . best fit curve instead of a straight line between control points on the graph. it must have points in the two default corners (-100. When you use Splines. For example. and all loud sounds will be quiet). all quiet sounds will be loud. the points control the shape of this curve. removing all control points. the line will not ordinarily travel directly through the control points. see the “Looking at the Work Area” chapter.

ADOBE AUDITION 105 User Guide Traditional Tab Dynamics Processing dialog – Traditional tab The Traditional tab lets you enter ratios and thresholds numerically. Flat. each with its own ratio and threshold setting. and enter 2 in the first Below line. . Note: Threshold settings must get lower in value as you move down the list. or Expand settings for up to six sections or stages. Attack/Release Tab Specify gain processing and level detection values using the fields in this area of the Dynamic Range Processing effect. For example. Simply enter the data to match the compressor you want. and -20dB for the threshold. If you want to expand 2:1 below -20dB as well. You can input Compress. choose Compress from the drop-down list. to create a 3:1 compressor above -20dB. choose Expand from the drop-down list. enter 3 (for 3:1) in the Above line.

where the Attack is the time it takes for the start of a pulse to reach the desired output volume. Attack time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. audible effects. if the Attack and Release times are each set to 5 ms (making 10 ms total). Here are its components: • Output Gain is a gain applied to the output signal.106 CHAPTER 8 Effects Menu – Edit View Dynamics Processing dialog – Attack/Release tab Gain Processor The Gain Processor amplifies or attenuates the signal depending on the amplitude detected. For example. If Joint Channels is checked. • Release Time is applied just before output. . For instance. it will take “this much time” before the output actually drops to its corresponding volume level. • Joint Channels In stereo. Thus. both channels are used to find a single input dB value. a total value of about 30 ms is about as low as you can go without introducing these effects. For example. such as a “vibrating” sound. a loud drum beat in the left channel will make the background noise sound louder in the right than in the left. can be heard at around 1000Hz/ms total. then a vibrating sound at 100Hz can be heard. For example. sometimes causing the surrounding background noise to get louder on one channel at a time. the Release is the time it takes for the end of the pulse to reach the desired level. each channel can be compressed independently. Note: If the sum of Attack and Release times is too short (less than about 20 milliseconds total). Release Time is the time it takes the end of a previous output level to reach the specified output volume. If there’s suddenly a quiet portion that drops 30dB. It’s the last step performed on the audio. a loud drum beat on the left channel will also cause the right channel to be reduced in level by an equal amount. • Attack Time is applied just before output. This can sound strange. and both channels are amplified together by the same amount (thus preserving the stereo center-channel image).

• RMS is a graph interpretation method that more closely matches the way people hear volume. instead of right on top of the transient. For example. That is. If there is suddenly a quiet portion that drops 30dB. which may be desirable in certain compression scenarios since it can enhance the impact of. • Peak mode is a graph interpretation method that is a little more difficult to use than RMS. • Release Time is applied when retrieving the current amplitude information. At times. • Attack Time is applied when retrieving the current amplitude information. if the RMS value is -20dB. This mode causes the output to be exactly the RMS amplitude that is specified in the graph. it will take “this much time” before the output actually drops to its corresponding volume level. Otherwise. This occurs because the RMS value calculated was mapped to a peak sample value for output. a limiter (flat horizontal line) at -10dB causes the RMS amplitude of the result to average -10dB (where 0dB is a maximum amplitude sine wave without clipping). Here are its components: • Input Gain is added to the signal before it goes into the Level Detector (the section that detects the current level). . However. this is obviously not desirable if you are using limiting in order to reduce the maximum amplitude of the audio. Band Limiting Tab The fields in the Band Limiting tab allow you to specify a frequency range where all dynamics manipulation will occur.ADOBE AUDITION 107 User Guide Level Detector The Level Detector determines the current waveform input amplitude. Attack Time determines the time in milli- seconds that it takes for the processed output signal to reach its specified output volume. For example. Lookahead Time Lookahead Time is used to handle sharp spikes that may occur at the onset of a louder signal. with a Lookahead Time of 0. Note: The spikes occur because it takes a little time to determine (the Level Detector’s attack value) and react (the Gain Processor’s attack value) to the current signal level. This essentially “pushes” the graph up or down by the gain given. these onsets can go beyond the limits of your compressor settings. and is a bit outdated. It equates to the RMS value times two. This method is available here for backward compatibility. which is used as the input side of the dynamics processor. say. and for brief instances. a spike will stay loud until all of the attack times have elapsed. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. then the equivalent peak value will be -40dB. a drum hit. the Release is the time it takes for the end of the pulse to reach the desired level. Release Time is the time it takes the end of a previous output level to reach the specified output volume. so Lookahead Time will actually cause the attacks to start before the audio gets loud.

). Create Envelope Only Check this option to apply any dynamics processing. within the current frequency range. leave this setting at 0. The Low Cutoff point is the bottom boundary in defining this band. . with values of 1000 for Low Cutoff and 5000 for High Cutoff. this envelope can then be copied and used with Modulate option of Edit > Mix Paste to modulate it with another sound’s amplitude. leave this setting at 0. or range. For example. To use the entire frequency range of the source material. To use the entire frequency range of the source material. with values of 1000 for Low Cutoff and 5000 for High Cutoff. Of course. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. you’ll hear pink noise instead of the audio that’s highlighted in the Wave Display.108 CHAPTER 8 Effects Menu – Edit View Dynamics Processing dialog – Band Limiting tab Low Cutoff This is the lowest frequency that dynamics processing will affect. You can define a band. To use the entire frequency range of the source material. While it probably won’t be much fun to listen to. etc. 11025 for 22kHz. this setting should be at 1/2 the current sample rate (24000 for 48kHz. For example. it’s also useful for just seeing the amplitude envelope of your audio. When you press the Preview button with the Create Envelope Only box checked. The High Cutoff point is the top boundary in defining this band. to which compression or expansion is applied. and have the result returned as an amplitude envelope. High Cutoff This is the highest frequency that dynamics processing will affect.

the bottom represents full attenuation (silence). with the blue line representing amplitude change. Create Envelope dialog Graph The graph depicts time along the x-axis (left and right) and the new output level along the y-axis (up and down). and by how much. Since Adobe Audition’s Previews are dynamic. This function is handy when modifying tones that are generated with Adobe Audition. Use the RadioLimit. The top of the graph represents 100% (normal) amplification.ADOBE AUDITION 109 User Guide You might want to use this feature on a copy of your waveform instead of the original file. Preview Press the Preview button to audition the selected dynamic range processing setting before you apply it to the waveform. More information on presets can be found in the “Looking at the Work Area” chapter. this gives you the opportunity to make and hear processing adjustments as the selection is looped. Fast Release. Presets Adobe Audition comes with several Dynamic Range presets. Envelope Envelopes give you control over which parts of your wave are amplified. including some great-sounding compression and limiting settings. . so as to create more realistic-sounding instruments and effects. Check the Bypass box to hear the waveform without any changes in dynamic range for a quick “before and after” comparison. The selection is played over and over (“looped”) until you press the Stop button. Boost preset to simulate the processed sound of a contemporary FM radio station.

Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). see the “Looking at the Work Area” chapter. Hard Limiting Adobe Audition’s Hard Limiter enables you to drastically attenuate audio above a certain threshold. the points control the shape of this curve. click to create more control points near the point in question.110 CHAPTER 8 Effects Menu – Edit View Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). this gives you the opportunity to make and hear changes as the selection is looped. Presets Adobe Audition comes with several Envelope presets. Spline Curves Check this option to generate a smoother. When you use Spline Curves. measured in percentage. you can amplify a piece of audio well beyond where it would normally clip. Preview Press the Preview button to audition the selected envelope adjustment before you apply it to the waveform. but do not want to Normalize down the entire waveform (which would reduce the volume of it). . the closer the spline curve will be to those points. when you draw your envelope curve. Check the Bypass box to hear the waveform without any changes in envelope processing for a quick “before and after” comparison. Flat The Flat button resets the graph to its default state by removing all control points. and the Hard Limiter will soften the regions that would otherwise be clipping. Hard Limiting will bring down only those portions that are clipping (or would be clipping if converting to 16-bit). and only have a few places where the audio is clipping. More information on presets can be found in the “Looking at the Work Area” chapter. best fit curve instead of a straight line between control points on the graph. for instance. Then. For example. Amplification The value in the Amplification field specifies where the top of the graph is. ensuring that the maximum sample amplitude does not go above the given limit. The default value of 100% means there will be no change in volume. The selection is played over and over (“looped”) until you press the Stop button. This can be extremely handy if. the line will not ordinarily travel directly through the control points. you did a Mixdown to a 32-bit audio file. Since Adobe Audition’s Previews are dynamic. the top of the graph is whatever percentage you specify and the bottom is 0%. To get the curve closer to a control point. rather. while leaving all audio samples below that threshold alone. The more control points there are clustered together.

The Clipping Statistics fields show what percentage of the audio would clip if limiting were not performed. as measured in dB.1dB. Boost Input by Before performing the limiting. you’ll probably want to click this button. Enter the desired amplification value. To avoid clipping when working with 16-bit audio. you can use this to amplify it and soften the regions that would otherwise clip (similar to what is commonly done with the audio on TV commercials).5dB. set this value to no more than -0. Make sure the value is at least 5 ms. To make a selection louder and ensure that no clipping occurs. and not resume normal levels for a while. Gather Statistics Now Press this button to update the Clipping Statistics display. Generally around 100 ms (the default) works very well. . To have the left and right channels vary independently. uncheck this option. Look Ahead Time This is the amount of time (measured in milliseconds) that it will generally take to attenuate the audio before the loudest peak will be hit. and will preserve very low bass frequencies. both channels vary in loudness together. Note: If this value is too small. Note: If this value is too large. This preserves the stereo image of the source. audible distortion effects may be heard. if you set it to -0. audio may just stay very quiet. Release Time This is the time (measured in milliseconds) that it takes for the attenuation to rebound back 12dB (or roughly the time it would take audio to resume normal volume if an extremely loud peak was encountered). the audio may be pre-amplified first. If you change any of the input parameters.ADOBE AUDITION 111 User Guide Hard Limiter dialog Here are the major components of the Hard Limiter window: Limit Max Amplitude to This is the maximum sample amplitude that will be allowed. Link Left & Right If checked. you’ll have a little more headroom for any future edits.

Choose 100% (default) to apply the most amount of amplification possible without clipping. Normalize L/R Equally Check this box to use both channels of a stereo waveform in calculating the amplification amount. . To skew the entire selected waveform above or below the center line. Check DC Bias Adjust and set it to 0% to center the waveform on the center (zero voltage) line. Normalize dialog Normalize to Enter the percentage of maximum to which you want to normalize. which results in the recorded waveform appearing to be above or below the normal center line. you might want to normalize the waveforms to no more than 96% as some audio compact disc players have problems accurately reproducing bits that have been processed to 100% (maximum) amplitude. potentially amplifying one channel considerably more than the other. normalizing the file to 100% results in the waveform’s new loudest peak being 100%. Adobe Audition computes the left and right values in a stereo waveform separately. When it’s unchecked. DC Bias Adjust Some recording hardware may introduce a DC Bias. All parts of the wave are amplified at equal levels. and its new quietest peak being 40%. For example. This could degrade the waveform’s stereo image. Check the Bypass box to hear the waveform without any changes in hard limiting for a quick “before and after” comparison. choose 50% to compute values needed to amplify the selection no more than 50% of maximum (resulting in a 3dB attenuation from maximum output). which enables you to set a desired peak level to which you want a file or selection raised. normalization allows you to achieve the greatest amount of amplification that will not result in clipping (distortion). If you’re planning to put normalized audio on CD. Normalize This command brings up the Normalize dialog. The selection is played over and over (“looped”) until you press the Stop button. For example. the value in the Normalize to box is represented in decibels instead of percentage. this gives you the opportunity to make and hear changes as the selection is looped.112 CHAPTER 8 Effects Menu – Edit View Preview Press the Preview button to audition the selected hard limiting adjustment before you apply it to the waveform. When set to 100% or 0db. Since Adobe Audition’s Previews are dynamic. enter a positive or negative percentage. Decibels Format With this box selected. if the loudest peak of a waveform is at 80% and the quietest peak is at 20%.

Use this for panning original stereo data more realistically than amplitude panning allows. In this case. surround). so things occurring on the right or left are boosted or cut. Pan/Expand dialog Center Channel Panning makes use of the “surround” and “center” channels of a stereo recording. where the “surround” channel is the difference (L-R) of the two original channels. or shift. This type of panning can provide realism to original stereo recordings. For example. right. middle. you can think of a stereo recording as having 4 channels (left. the center channel of a stereo waveform. and “center” is the sum (L+R) of them. with the corresponding surround channel moving right to left in the opposite direction. and this effect will pan these channels around. Both of these elements can be altered dynamically over time by using the respective graph. and the old “surround” channel coming out the right. . You can use the graph to position the center channel anywhere from hard left (-100%) or hard right (100%). It also lets you expand or narrow the stereo separation of the left and right channels. Expanding works by subtracting out or adding differing amounts of left and right channel signal. while the y-axis (vertical) represents the percentage of the pan from center. Center Channel Pan This graph represents the pan position of the center channel of a stereo waveform over time. you can pan hard left to get the old “center” channel coming out the left speaker.ADOBE AUDITION 113 User Guide Pan/Expand The Pan/Expand effect is used to pan. The graph’s x-axis (horizontal) represents the length of the waveform or selection.

for example). Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). best fit curve instead of a straight line between control points on the graph. rather. it supports parameter automation. The more control points there are clustered together. Stereo Field Rotate This effect allows you to rotate the stereo field of an audio file. Flat The Flat button resets the graph to its default state by removing all control points. To get the curve closer to a control point. while the y-axis (vertical) represents the percentage of stereo expansion. • Check the Automated box in the Center Channel Pan section of the Multitrack View version of the Pan/Expand dialog to draw the Center Channel Pan curve using a yellow envelope on waveform blocks. Spline Curves Check this option to generate a smoother. The graph’s x-axis (horizontal) represents the length of the waveform or selection. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). When you use Spline Curves. . Check the Bypass box to hear the waveform without any changes in panning or expanding for a quick “before and after” comparison. Preview Press the Preview button to audition the current Pan/Expand setting before you apply it to the waveform. the closer the spline curve will be to those points.) This is accomplished by manipulating the Stereo Field Rotation graph. This either amplifies (>100%) or removes (<100%) the differences between channels. see the “Looking at the Work Area” chapter. Presets Adobe Audition provides several Pan/Expand presets. the points control the shape of this curve. The expansion level can vary over time for interesting effects (growing from a mono signal to a very wide stereo signal. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation. • Check the Automated box in the Stereo Expand section of the Multitrack View version of the Pan/Expand dialog to draw the Stereo Expand curve using a pink envelope on waveform blocks. More information on presets can be found in the “Looking at the Work Area” chapter. With some material. a stereo expanding effect may be achieved by increasing the differences between the left and right channels.114 CHAPTER 8 Effects Menu – Edit View Stereo Expand This graph shows the expand level over time. Since Adobe Audition’s Previews are dynamic. Automated When using Pan/Expand as a real-time effect in Multitrack View. the line will not ordinarily travel directly through the control points. click to create more control points near the point in question. The selection is looped until you press the Stop button. (Stereo field denotes where in space instruments or other sources are placed within the L/R image of a stereo waveform.

Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). click to create more control points near the point in question. (This is the same as choosing the Invert effect from the Effects menu). see the “Looking at the Work Area” chapter. . just the left channel is inverted. At 90 degrees right. only the right channel is inverted. rather. the line will not ordinarily travel directly through the control points. both the left and right channels are 180 degrees out of phase. Use the graph to position the stereo field anywhere from hard left (the top of the graph) or hard right (the bottom of the graph) at any specific point in time.ADOBE AUDITION 115 User Guide Stereo Field Rotate dialog Note: If you specify a stereo field rotation of 180 degrees. best fit curve instead of a straight line between control points on the graph. Invert Left/Right Check this option to reverse the way the graph goes. Rotation This graph represents the rotation of the stereo field over time. The more control points there are clustered together. the closer the spline curve will be to those points. panning the center channel left or right while panning the surround channel the opposite direction. the results are identical to Adobe Audition’s Pan/Expand effect. At 90 degrees left. When you use Spline Curves. In the range of -45 to 45 degrees. the points control the shape of this curve. so an upward line spins the field clockwise instead of counter-clockwise. To get the curve closer to a control point. Spline Curves Check this option to generate a smoother. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). The x-axis (horizontal border) of the graph shows the waveform’s timeline. This means that the waveform is inverted. while the y-axis (vertical border) displays the number of degrees off center for the left and right channels.

Frequency. Loop Graph When this box is unchecked. However. An audio file or selected range can be delayed in any of the following ways… in any of the following ways… in any of the following ways…. you’ll see the phase rotating clockwise (to the left). if your graph is drawn to rotate more and more to the right. More information on presets can be found in the “Looking at the Work Area” chapter. If you check Loop Graphs. if you have Invert checked. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Chorus The Chorus effect adds richness to a sound by making it sound as though several voices or instruments are being played at once. . that same graph will now rotate the phase image to the right. you’ll actually hear the audio start panning to the right if your graph started at 0. Presets Adobe Audition provides several Stereo Field Rotate presets. Since Adobe Audition’s Previews are dynamic. how many beats per minute the loop will have (Tempo). Delay Effects The options in this menu can be used to introduce a series of “repeats” or delayed echoes of the original input signal at regularly spaced or user-defined intervals. it supports parameter automation. But. the graphs are the same length as your selection.116 CHAPTER 8 Effects Menu – Edit View If you have Adobe Audition’s Phase Analysis window (Analyze > Phase Analysis) open. Check the Automated box in the Multitrack View version of the Stereo Field Rotate dialog to draw the Center Channel Pan using a yellow envelope on waveform blocks. the graphs are only as long as specified. Preview Press the Preview button to audition the current Stereo Field Rotate setting before you apply it to the waveform. So. Range Use this drop-down control to select the y-axis display range of the stereo rotation graph from 45 degrees to 360 degrees. or to add harmony or “thickness” to a vocal track. so they loop repeatedly over the course of the selection. Checking Loop Graphs also enables the drop-down control that lets you specify Period. Flat The Flat button resets the graph to its default state by removing all control points. You can also use chorusing to create some truly out-of-this-world special effects. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on. You can either specify how long the graphs should be (Period). so the dynamic changes to your delay are graphed across the whole selection. Chorus is a great way to add a degree of “presence” to an existing track. the how fast the cycle should move (Frequency). Tempo. you can actually watch the stereo field rotate. Automated When using Stereo Field Rotate as a real-time effect in Multitrack View. Use it to give a stereo effect to a mono sample (where left and right channels are identical). or Total Cycles. The selection is looped until you press the Stop button. Check the Bypass box to hear the waveform without any changes in stereo field rotation for a quick “before and after” comparison. or how many times you want the graph to loop in the given selection (Total Cycles).

Use this setting to limit the maximum amount of delay that will ever occur. • If it is set high. You’ll get better results if you convert mono files to stereo before applying a Chorus effect. everything will start to sound “warbly”. rather like a tape that is being eaten by a cassette deck. which means that each voice (or layer) is made to sound distinct from the original by slightly varying the timing.ADOBE AUDITION 117 User Guide Chorus dialog Adobe Audition uses a direct-simulation method of achieving the chorus effect. Chorus Characteristics These are the characteristics used for each voice (layer) in the chorus. . Thickness Thickness determines the number of voices that are simulated in the chorus effect. all the voices will start merging into the original. Note: The more voices you specify. so each voice will be unique in each of these characteristics. they represent ranges of random values. and an unnatural flanging effect may be noticed. You can use the Feedback setting to add extra detail to the result. While the properties below apply to each voice. intonation. • If the setting is very small. The final result may end up with an additional voice if the Dry Out setting is used (which mixes the original sample in with the chorused result). Max Delay An important component of chorusing is the introduction of short delays (often in the 15-35 millisecond range) that vary in duration over time. the longer the effect will take to compute – but the result will have extra richness and fullness. Enter the number of desired voices in this field. and vibrato.

• If this setting is extremely low (less than 1dB) the vibrato may be unnoticeable unless the Vibrato Rate has been set extremely high. Natural vibratos occur around 2dB to 5dB. Just a little feedback (less than 10%) can give an extra richness to the effect (and even this depends on the delay and vibrato settings). the individual voices won’t vary much in pitch at all. Feedback Use this setting to include a certain percentage of processed chorused voices back into the mix. the pitch of the sample will increase or decrease over time. • If this setting is very low. the sound may cut in and out. Note: Be very careful with this setting. This limitation is intentional. placing each voice slightly out of tune with the others (which is what gives the effect of a separate voice). the result can be very unnatural – more like a singer who had too much coffee. This value determines the maximum variation in amplitude that will occur. where it generates sounds that are reminiscent of warbly UFOs whizzing around your head. as in the Flying Saucers setting. • High spread values cause the separate voices to start at different times – the higher the value. for example. • With very low values. the voices may vary so quickly that “warbling” effects can be heard. like a singer that cannot keep his or her breath steady. however. the effect is of all the voices singing in unison. Please note that this is a maximum depth – just as in the delay settings. • If it is set high. it may only go part way between zero and the maximum delay. However. For example. These may get so loud that they will clip and destroy the signal. If too much feedback is used. and then start cycling back before reaching the maximum. separating them in time by as much as 200 milliseconds (1/5th of a second). low values may also bring out some flanging effects. which describes how the amplitude varies over time. the further apart the onset of each word may be. • If the vibrato rate is set high. a value of 5dB may alter a chorused voice by varying its amplitude by as much as 5dB louder or quieter than the original. Spread The spread setting gives an added delay to each voice. Because the actual delay used varies over time. This can give your waveform an extra echo or reverb effect. Please note that this is only a maximum. which may be undesirable if your goal is a realistic chorus effect. Depending on other settings. more traditional feedback noise will be heard. For example. the resulting voice will slowly get louder and quieter. sometimes this can be a desired effect. Vibrato Depth Another property that varies with each voice is vibrato. like loud ringing or other artifacts. a value of 2Hz means the delay used could vary from no delay to the maximum delay and back twice each second (sort of a pitch vibrato at 2 times a second). as it gives a more natural feel to the effect. instead of a vibrato effect.118 CHAPTER 8 Effects Menu – Edit View Delay Rate This parameter determines the time taken for the delay to cycle from its zero-to-maximum delay setting. Vibrato Rate The Vibrato Rate determines the maximum rate at which vibrato will occur. • If Vibrato Depth is set too high. • With low values. if you set it to 2Hz. creating an objectionable warble. the vibrato volume may not go as low as the setting indicates at times. .

Dry Out This setting determines how much of the unprocessed signal is mixed into the final output. In addition. Adobe Audition adds the original voice to the number of processed voices (which is determined by the Thickness setting). This can make each voice appear to be coming from a different direction. the greater the chance that the chorused voices will be placed in the center of the L/R stereo image. If no cues are added. Adobe Audition will process the sample more slowly. They determine where the individual voices will be placed in the stereo field. all the voices are spaced evenly about a half circle from left to right. • With an even number of voices. • If you use an odd number of voices. At a setting of 50%. This is why greater separation can be heard when listening through speakers if binaural cues aren’t used. as well as how the original stereo signal will be interpreted. no output will be sent to the right channel. A waveform that contains sound sources that are spread widely from left to right is said to have a wide stereo field. spatial binaural cues such as those that exist in reverberated audio or live stereo recordings will be preserved. you can achieve interesting special effects (as in the preset Another Dimension). Stereo Field denotes where in space instruments or other sources are placed within the L/R image of a stereo waveform. voice #4 will be right-of-center. If you set it to zero. In the case of Adobe Audition’s stereo field Settings. both settings should be less than 100%. At settings higher than 50%. the stereo image will be preserved when processing a stereo source file. then there will always be one voice directly in the center. Ordinarily. all voices are pushed either hard left or hard right. Output The final output can be a mix between the original input (dry) signal and the chorused (wet) signal. as it will have no result – except that if the box is checked. voice #2 will be left-of-center. if a thickness of 5 is used. For example. the narrower the stereo field. each voice will be panned such that voice #1 will be to your left. the volume of the right channel for a voice panned all the way to the left is still significant.) Note that there is no need to check this box if the sample was originally monophonic. but only when played through headphones. If the audio is meant to be played through speakers. and voice #5 will be on your right. . If you leave the box unchecked.ADOBE AUDITION 119 User Guide With very high settings. voice #3 will appear in the center. and very high stereo field settings. the voices start migrating to the outer edges: voices to the left go farther to the left. Narrow Field/Wide Field Slider Use this control to specify the stereo field of the Chorus Effect. Average Left & Right Adobe Audition can either average the original left and right channels or keep them separate in order to preserve any stereo image that may already exist. otherwise the overlaying of several voices may cause clipping. (For example. Add Binaural Cues Check this option to add separate delays to the left and right outputs of each voice. Stereo Chorus Mode The Stereo Chorus Mode settings are only active when working with stereo files. and those to the right go farther right. when you add binaural cues. while those having images that are centered around the middle are said to have a narrow stereo field. this option should be turned off.

However. For example. In the mixer. More information on presets can be found in the “Looking at the Work Area” chapter. The best value will vary depending on the number of voices. while those falling within the 15-34 millisecond range can be used to create a simple chorus or flanging effect. Reduce the blend to 30% or so to blend the original signal with the processed chorus. This technique can be handy for emphasizing certain portions of the singing with a backup chorus. with a Thickness setting of 3.) Delay dialog . as the delay settings will be fixed and won’t change over time. Wet Out This setting determines how much of the processed signal is mixed into the final output. Preview Press the Preview button to audition the current Chorus setting before you apply it to the waveform. (These effects won’t be as effective as the actual chorus or flanging effects within Adobe Audition’s Effects menu. or just tweak the final amplitude of the background chorus with the track’s volume settings. this will slow down processing time both when you preview the effect and when you actually apply it. 20% might be better. Generally.120 CHAPTER 8 Effects Menu – Edit View Keep the original signal near 100% and reduce the Wet Out to give the singer or instrument a “backup chorus”. Highest Quality (but slow) Check this box to make sure the chorusing effect is the best quality. Use Adobe Audition’s multitrack mixing capabilities to dynamically bring in and fade out the chorus. and the desired stereo image field settings. this value should be set lower whenever more voices are used. but with Thickness at 10. Since Adobe Audition’s Previews are dynamic. Delay Delay can be used to create single echoes. Delays of 35 milliseconds or more will be perceived as discrete echoes. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Add the chorus effect to a copy of the original audio and set this value to zero to create a chorus-only version of the original. Presets Adobe Audition provides several Chorus presets. a setting of 40% would be appropriate. Check the Bypass box to hear the waveform without any applied chorusing effects for a quick “before and after” comparison. as well as a number of other effects. The selection is looped until you press the Stop button. insert both the original and the fully chorused versions. Use the volume envelope control to adjust the volume of the chorus over time.

For instance. For instance. and rerun the Delay effect.ADOBE AUDITION 121 User Guide By reducing the delay times further down into the 1-14 millisecond range. if you enter 200 milliseconds for the left channel. Make sure there is enough silence at the end of the waveform for the delay trails to complete. Delay These sliders allow you to adjust the desired delay for both the left and right channels up to plus or minus 500 milliseconds. for the first five seconds of an audio file you can have a 2 millisecond delay. for the following 10 seconds the delay could be at 7 milliseconds. undo the Delay effect. . Preview Press the Preview button to audition the current Delay setting before you apply it to the waveform. the positive values of the selected waveform become negative. Presets Adobe Audition provides several Delay presets. Entering a negative number means that you can move a channel ahead in time instead of delaying it. such as creating a quick-and-dirty comb filter. even though the actual volume levels for left and right of the wave are identical. Dynamic Delay Dynamic Delay allows you to change the amount of delay over the length of the waveform. the delayed portion of the affected waveform will actually be heard before the original part. Since Adobe Audition’s Previews are dynamic. Check the Bypass box to hear the waveform without any applied Delay effects for a quick “before and after” comparison. and so on. This means that cancellation will occur when you mix the inverted and original waveform. Invert If this box is checked. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Mixing Move the Mixing sliders to set the percentage of Delayed (wet) signal and unprocessed Original (dry) signal to be mixed into the final output. More information on presets can be found in the “Looking at the Work Area” chapter. Inverting the delayed signal can be used for special effects. add several seconds of silence using Adobe Audition’s Generate > Silence command. The selection is looped until you press the Stop button. you can spatially locate a mono sound (a sound with the same information for both the left and right channels) so that it appears as though the sound is coming from the left or the right side. If the delay abruptly cuts off before it fully decays. A value of 50 will mix the two evenly. for the next 15 seconds you could have a 20 millisecond delay.

Original . Functionally. the line will not ordinarily travel directly through the control points. Spline Curves Check this option to generate a smoother. instead of reinforcing the signal. This causes the waves to cancel out periodically. . the Delay Graph works just like any other Adobe Audition graph control. the closer the spline curve will be to those points. the less delay you’d have – and vice-versa. click to create more control points near the point in question. The more of the original signal you have in the mix. The more control points there are clustered together.122 CHAPTER 8 Effects Menu – Edit View Dynamic Delay dialog Dynamic Delay is especially cool when used as a real-time effect in the Multitrack View. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). When you use Spline Curves. see the “Looking at the Work Area” chapter. which has a similar principle) to the Multitrack View. you get a new envelope that determines the delay. rather. The x-axis (horizontal edge) represents the timeline of the selection. Invert Check this box to invert the delayed signal. For more information about Adobe Audition’s graph controls (such as how to add and remove control points). If you add the dynamic delay (or Dynamic EQ.Delayed Slider Use this control to mix in the desired amounts of original and delayed audio. while the y-axis (vertical edge) represents the length of delay (measured in milliseconds). To get the curve closer to a control point. Delay Graph Use the Delay Graph to specify the amount of delay in the Dynamic Delay effect. best fit curve instead of a straight line between control points on the graph. the points control the shape of this curve.

If you change one of these values. the other two reflect the change. (For a single echo. Period. and Stereo Phasing fields. Positive values will delay the right channel. Period. Checking Loop Graphs also enables the Frequency. see the “Looking at the Work Area” chapter. just the curve used. or how many times you want the graph to loop in the given selection (Total Cycles). The audio itself isn’t delayed. the Feedback Graph works just like any other Adobe Audition graph control. how long the graphs should be (Period). it supports parameter automation. For more information about Adobe Audition’s graph controls (such as how to add and remove control points). the graphs are only as long as specified. If you check Loop Graphs. decaying echoes to a sound. This leads to a neat effect where the phasing sound of the delay lags in one channel with respect to the other. while the y-axis (vertical edge) represents the percentage of feedback. You can either specify the how fast the cycle should move (Frequency).ADOBE AUDITION 123 User Guide Feedback Graph Use the Feedback Graph to specify the amount of feedback in the Dynamic Delay effect. Total Cycles. use the Delay function instead). and Total Cycles are all ways of determining the length of the looped section. so the dynamic changes to your delay are graphed across the whole selection. so they loop repeatedly over the course of the selection. Check the Automated box in the Delay section of the Multitrack View version of the Dynamic dialog to draw the Delay curve using a purple envelope on waveform blocks. The x-axis (horizontal edge) represents the timeline of the selection. Stereo Curve Difference This setting is only effective when Dynamic Delay is used in Adobe Audition’s Multitrack View. Automated When using Dynamic Delay as a real-time effect in Multitrack View. . Echo This function adds a series of repeated. while negative values will delay the left. Loop Graphs When this box is unchecked. the graphs are the same length as your selection. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation. Functionally. It’s the number of milliseconds one channel is behind with respect to the other when following the envelope you draw in Multitrack View. Frequency.

while a decay of 100 percent produces an echo that never gets quieter. shiny high-end) to one that is almost totally absorptive (very little reflected high-end sounds) by equalizing the delays. Uncheck this box to adjust the channels separately. a setting of 100 milliseconds results in a 1/10th-second delay between successive echoes. Each successive echo will trail off at a certain percentage less than the previous one. You can create striking stereo echo effects by using different Left and Right channel values for the Decay. Delay. • Decay is the falloff ratio of an echo. and Initial Echo Volume controls.124 CHAPTER 8 Effects Menu – Edit View Echo dialog Achieve effects ranging from a Grand Canyon-type “Hello-ello-llo-lo-o” to “boingy” drain pipe sounds by varying the delay amount. the Decay. . When the Lock Left/Right box is checked. • Initial Echo Volume: Adjust these sliders to set the percentage of echoed (wet) signal to be mixed with the original (dry) signal in the final output. • Delay sliders are used to specify the number of milliseconds that is placed between each echo. Change a room’s characteristic sound from one with reflective surfaces (yielding echoes that have a bright. the left and right channels may be processed separately. Delay. A decay setting of zero percent results in no echo at all. maintaining the same settings for each channel. For example. Echo Characteristics The following characteristics can be applied to echoes. and Initial Echo Volume scroll bars for the left and right channels move together. • Lock Left/Right: With stereo waveforms.

Since Adobe Audition’s Previews are dynamic. allowing for control in simulating the natural sound absorption of a room. the selected range will be echoed. the echo effect continues beyond the right-hand boundary of the waveform’s selected range. Sounds that extend beyond this boundary will not be affected. select an initial echo volume of 100% for the one side (left or right). this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. More information on presets can be found in the “Looking at the Work Area” chapter. Preview Press the Preview button to audition the current Echo setting before you apply it to the waveform. along with the placement of virtual microphones. And. Settings are provided for specifying your virtual room’s size and surface characteristics. Keep in mind that the more echoes there are to calculate. The number of echoes is adjustable. Otherwise. Continue echo beyond selection When this box is checked.ADOBE AUDITION 125 User Guide • Echo Bounce: Select this option to make the echoes bounce back and forth between the left and right channels. the settings for each channel will bounce to the other. . Each successive echo is passed back through the equalizer. If the echo abruptly cuts off before it fully decays. you can’t increase the attenuation of frequencies with Successive Echo Equalization. This means if the window is zoomed in. The selection is looped until you press the Stop button. Successive Echo Equalization This eight-band echo “quick filter” enables you to choose which frequencies are removed from the echo first. In other words. Presets Several Echo presets come with Adobe Audition. A setting of zero will leave the frequency band unchanged. some frequencies will die out much faster than others. creating two sets of echoes on each channel.000. the longer it will take for the function to complete. since it would be -15dB for each successive echo. If you want to create one echo that bounces back and forth. you may only decrease them. and this echo will naturally decay beyond the selection boundary. undo the Echo effect. and then rerun the Echo effect. up to about 25. while a slider’s maximum setting of -15 will decrease that frequency by 15db. and 0% for the other. If the box isn’t checked. Note: Unlike most other equalizer-like controls. the echoing will stop before the range or file ends. while unselected sounds will not be echoed. add several seconds of silence using Adobe Audition’s Generate > Silence command. Make sure there is enough silence at the end of the waveform for the echo trails to complete. Echo Chamber The Echo Chamber function can simulate the ambiance of almost any room. the echo effect will stop at the right-most waveform boundary visible in the waveform window.

(There are approximately 0. further apart in the settings than if you were playing them through speakers in real life.000 echoes. For example. depending on the virtual room size and available memory. but memory requirements will grow as room size increases.126 CHAPTER 8 Effects Menu – Edit View Echo Chamber dialog One cool use for this function is to give a stereo effect to monaural audio by adding ambiance. but larger numbers of echoes require more processing time. stereo expansion effect may be created by placing the two microphone locations far apart.000 echoes produce a very realistic result In order to reduce wait time when testing out a virtual chamber’s size and overall room sound. you may want to generate only 100 or so echoes. the more echoes there are. Because echoes (picked up by the virtual microphone) add to the signal’s overall amplitude. they must lie between zero and the room’s width for the Dx From Left Wall parameter. This means that some systems may run out of memory if very large room sizes are used. and height of the virtual room.) When entering source and microphone locations.3 meters per foot. Echoes This is the number of actual echoes to produce. For example. A spatial. the lower the Intensity value should be set. Intensity This determines the percentage of amplitude of the direct (original) signal. a setting of about 30% would be appropriate for 100 echoes. whereas 15% would be better for 1. you should always set Intensity to under 100% to avoid clipping. Once you achieve the sound you want. (Try monitoring the result with headphones to experience the best effect. Room Size (feet) The length. To achieve a nice reverberating ambiance effect. the “truer” the result will sound. try placing the left and right virtual microphone settings 20 or 30 feet apart. as measured in feet. are specified here.000 echoes. you can undo the test effect and increase the number dramatically for the final production. A very fast system should be able to generate up to 100. width. Room sizes can be as large as you like. and between zero and the room’s length for the Dx from Back Wall parameter. Choosing a “left” microphone placement that is one or two feet away from the “right” microphone will simulate a listener’s ears and will give the effect of “being there”. The more echoes that are generated. 25. In fact. if your stereo speakers are 6 feet apart. use at least 10.) Make sure you use Edit > Convert Sample Type to make the mono signal stereo that you can choose separate virtual microphone locations.000 echoes. .

This is analogous to placing your ear right next to the sound source. Granted. • Microphone Placement: Enter the desired virtual microphone values. though. You can also lower the damping factor of some of the walls to simulate other objects in the room. floor coverings. (When using a stereo waveform. you can have different values for both the left and right channels. it will absorb most of the sound (like carpeting. Adobe Audition will use the greatest possible value (20 feet in this case). and Dx Above Floor fields. like 0. A damping factor of 1. you will just hear the source and no echoes. in the Dx (Distance) from Left Wall. which effectively absorb some of the audio. simulating total reflectivity.) The signal will then simulate a single. and other objects in the room that absorb sound. for example).05. In most instances. This does. or sound proofing panels). measured in feet. Mix Left/Right Into Single Source When working with stereo audio.ADOBE AUDITION 127 User Guide Damping Factors Use damping factors to describe the type of virtual room in which the audio is being played. For example. and ceiling. is still accurate. Dx from Back Wall. check this option. To give more control over the environment. but in this simulation all frequencies are reflected equally. Signal and Microphone Placement (feet) • Source Signal: Enter the desired values of the Source Signal (your waveform or selection). require twice as many calculations as a single audio source. If you use a values greater than the dimensions of the room (a Dx Above Floor of 21 feet in a room with a Height of 20 feet. it is totally reflective (rather like cement). Try listening with headphones to virtual microphones that have been placed far apart. but great effects can still be achieved (and they're much more realistic than those of basic Echo functions).0 is the highest. Dx from Back Wall. The placement of and distance between the mikes gives the brain cues about the directions of each echo and the size of the room. there are actually two source signals (left and right) that can be placed independently. non-directional point source. in the Dx (Distance) from Left Wall. These factors can simulate wall coverings. Depending on whether the waveform is mono or stereo. this gives a very large “aural” or “spacey” feeling to the sound. which will sum the left and right channels of a stereo waveform before routing it to the effects processor. If the microphone and source are too close together. meaning that the sound will radiate outwards in all directions. Each microphone is routed to its own respective channel of a stereo audio file. while a factor of 0. which represents complete sound absorption (no reflecting surface). The effect of speaker placement enhancing or canceling certain frequencies. where you will hear the sound only (due to its loudness). various objects absorb different frequencies.0. If faster processing is desired. apply damping factors to any of the four walls. in real life. and Dx Above Floor fields. heavy draperies. . floor. If a wall has a damping factor of 1. however. If a wall has a very low damping factor.0 is the lowest. Place the virtual microphones in a stereo setting one foot apart to simulate human ears. the stereo effect will be dramatically enhanced and sound fuller and often richer when this box is unchecked. the fact that cement reflects high frequencies better than low ones isn’t accounted for. The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect. Note: Make sure you always place the virtual microphone(s) sufficiently far away from the source. up to two virtual mike pickups can be used. The resulting echoes are exactly what the microphone(s) would pick up in the room at the specified location. measured in feet. Use the Dx (Distance) values in conjunction with Room Size values to determine exact 3D placement.

the result is a wavering sound. the result is no flanging at all. Flanger dialog Original . this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. add several seconds of silence using Adobe Audition’s Generate > Silence command.Delayed Slider Use this control to adjust the mix between the amount of original (dry) and flanged (wet) signal.) Use Adobe Audition to create the same effect by slightly delaying and phasing a signal at predetermined or random intervals. you’ve heard flanging in action. The resulting sound is a phase-shifted. Flanger Flanging was originally achieved by sending an audio signal to two reel-to-reel tape recorders. If the Delayed signal is set to 100%. Use lower values to get a “warmer” feel. time delay effect. If the echo abruptly cuts off before it fully decays. if you set a damping frequency of 7000Hz. rather like a bad tape player. undo the Echo Chamber effect. . For instance. characteristic of some of the psychedelic sounding recordings in of the 1960s and 1970s.128 CHAPTER 8 Effects Menu – Edit View Damping Frequency The Damping Frequency value lets you specify an upper frequency limit of sound that will be reflected. Preview Press the Preview button to audition the current Echo Chamber setting before you apply it to the waveform. If the Original value is at 100%. then frequencies above 7000Hz will be cut for each unit of time. Since Adobe Audition’s Previews are dynamic. Portions of both signals must be present if you want to achieve the characteristic cancellation and reinforcement that occurs during flanging. Make sure there is enough silence at the end of the waveform for the echo trails to complete. The selection is looped until you press the Stop button. (If you’ve ever listened to “Listen To The Music” by the Doobie Brothers. Presets Several Echo Chamber presets come with Adobe Audition. and then physically slowing down the reels of one machine. and then rerun the Echo Chamber effect. More information on presets can be found in the “Looking at the Work Area” chapter.

Feedback The Feedback slider determines what percent of the flanged signal is fed back into the flanger. This setting can reverse the initial/final delay settings for the left and right channels. The Invert. the effect only uses the original signal. and Sinusoidal options give you a lot of control over the flanging effect. If the Original . the waves will cancel out to silence whenever the delay is at zero. With feedback added. the signal is at the initial and final delays more often than it is between delays. Mode Three options are offered for mode: • Inverted: Check this box to invert the delayed signal when flanging. • Special EFX: Selecting this box mixes both the normal and inverted flanging effects. Since Adobe Audition’s Previews are dynamic. For example. with the flange being cycled between this and the Initial Mix Delay at a specified rate. a setting of 180 puts the right channel at the initial delay value at the same time that the left channel is at the final delay value. Presets Adobe Audition comes with several Flanger presets.5 cycles causes the effect to start with the initial delay. psychedelic effect. • Sinusoidal: If this option is chosen. so try experimenting with them to achieve the effect you want. It refers to the flange effect’s secondary (or final) delay setting. Period (measured in seconds). For example. The selection is looped until you press the Stop button.Expanded mix settings are set at 50/50. This causes the waves to cancel out periodically. which are measured in degrees. More information on presets can be found in the “Looking at the Work Area” chapter. and Cycles (measured in cycles) settings refer to the rate at which the delay cycles between the initial delay and the final delay. the flanging will cycle from the initial delay to the final delay and back again four times per second. If a frequency of 4 is chosen. and the delays from the initial setting to the final setting are at a constant rate. The delayed signal is summed while the leading signal is subtracted out. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Different settings can result in widely varying effects. instead of reinforcing the signal. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting. With Sinusoidal checked. Final Mix Delay This control sets the point in milliseconds at which flanging will end behind the original. Preview Press the Preview button to audition the current Flanger setting before you apply it to the waveform. the effect uses a percentage of the affected signal from before the current point of playback. the transition from initial delay to final delay and back will follow a sine curve. the transition is linear. With no feedback. and end with the final delay. Otherwise. Rate The Frequency (measured in hertz). Stereo Phasing This control lets you set the left and right delays at separate values. .ADOBE AUDITION 129 User Guide Initial Mix Delay This slider sets the point in milliseconds at which flanging will start behind the original. thus creating a circular. a setting of 0. Special EFX.

or other artificial sounding artifacts. a new impulse is computed (which can be several megabytes in size) to simulate the environment you’re specifying. and have the early reflections realistically model their position within rooms that have acoustically desirable dimensions that you can customize. like Adobe Audition’s standard Reverb effect. which means there are no ringing. It’s also convolutionimpulse-based (like the standard Reverb). Because every parameter change (other than a mix level change) requires a new reverb “impulse” to be built. This means it takes more CPU power to perform the reverberations. General Reverb Tab Full Reverb dialog – General Reverb tab .130 CHAPTER 8 Effects Menu – Edit View Full Reverb Full Reverb. Once built. you may have to wait a few seconds after pressing Preview for the reverb generation process. Practically any wall surface material or other sound-affecting factors can be simulated by changing the reverb’s frequency absorption using a 3 band “parametric EQ” style interface (in the Coloration tab). and source location to place the “singer” off-center. is used to simulate acoustic space. but they are much more natural sounding and easier to tailor. specific resonating can be achieved if desired (see Coloration). However. and subsequent previews or pressing OK won’t require rebuilding the impulse. like Perception to simulate room irregularities. nor will adjusting any of the mix level controls or the Include Direct checkbox. Note: Whenever any of the reverb characteristics are modified. Full Reverb has some unique features not found in other reverbs. the preview should generally run in real time. metallic.

while other frequencies may decay much faster. walls. connecting rooms. that it takes for the reverb to build to its maximum amplitude. Perception This value models irregularities in the environment (objects. and somewhat low Perception values with long reverb tails give the effect of a football stadium or similar arena. reverbs tend to build up over a short time span. without distinct “echoes” heard in them. . The actual tail generated is much longer than this in order to allow for decaying into the background noise level. etc. you’re free to fine-tune the length and attack time to change the effect.). Low values will do a smoothly decaying reverb without any frills.ADOBE AUDITION 131 User Guide Total Length This is essentially the time. High diffusion values (above 900) give very smooth reverbs. but also take longer to compute. Using low Diffusion values. Longer values give longer reverb tails. Diffusion This setting controls the rate of echo buildup and how diffuse the echoes are. Generally. and then decay at a much slower rate. the tail length should be correlated with the feeling of room size given by the Early Reflections. Larger values will give more distinct echoes (coming from different locations). After these are set. Lower values will produce more distinct echoes since the initial echo density will be lighter. measured in milliseconds. depending on the Coloration parameters. Values up to about 40 will give just enough variation to the reverb to simulate small room variations. Interesting effects can be heard with extremely long attack times (like 400 milliseconds or more). measured in milliseconds. The effective limit is about 6000 milliseconds (a 6-second tail). Set Reverb based on Early Reflection Room Size For convincing sounding reverbs. Attack Time This is the time. but the density will build over the life of the reverb tail. However. Pressing this button will adjust the Total Length and Attack Time to roughly match the room size given in the Early Reflections tab. Very interesting “bouncy” effects can be obtained by using low Diffusion values and high Perception values. it may not sound natural. If a reverb is too smooth. certain frequencies may take longer to decay to 60dB. that it takes for the reverb to decay 60dB.

between 5% and 10% left or right. Generally. • If the cutoff setting is too high. use the Location slider. the easier it is to hear the left/right location of the source. These rooms generally sound louder because of all the echoes reflected off the narrow walls.132 CHAPTER 8 Effects Menu – Edit View Early Reflections Tab Full Reverb dialog – Early Reflections tab Room Size This is the actual volume of the virtual room. Checking the Include Direct box in the Mixing section below will also adjust the Original Signal to sound as if it is coming from the same location by delaying one of the channels. bass frequency sound may disappear when using small room sizes. you may not get a realistic image of the room size. .25 and 4 provide the nicest sounding reverbs. The wider a room. A sonically appropriate height is calculated and reported below after Actual Room Dimensions. Very nice effects are possible with singers being very slightly off center. Left/Right Location The source can be placed off-center to produce a different set of incoming early reflection echoes. use this slider to specify a frequency above that of the sound you wish to keep. Very narrow rooms simulate a person being at the other end of a long hallway. The larger a room is. To prevent the loss of low frequency sounds. • If the cutoff setting is too low. Dimension The ratio between the room’s width (left to right) and depth (front to back) can be chosen with this slider. Use this control to create virtual rooms from only a few meters to giant coliseums. say. Extremely wide rooms are not very deep. If you want to simulate a person being at one end of the hall or the other in a very wide room. rooms with width-to-depth ratios between 0. High Pass Cutoff Very low frequency (less than 100Hz) instruments (such as bass or drums) can get phased out for small rooms when the early reflections mix with the original signal. the longer the reverbs are for that room. as measured in cubic meters.

. While the reverb length and attack can be adjusted later. from left to right. mid band. or the center frequency for the mid band. this provides a starting point for experimentation. Set Reverb Based on Early Reflection Room Size Once a room size and dimension are chosen. For distinct resonance. like to bring out a singer’s voice. This will make for a more convincing listening experience. For example. use values like 10 or higher.ADOBE AUDITION 133 User Guide Good settings are generally between 80Hz and 150Hz. it is advisable to click this button to set the reverb length and attack time to match the current room size. Sometimes it may be desirable to enhance some quality of the audio being processed. The cornering frequency for the shelves. Lower values affect a wider range of frequencies (hence higher values will narrow the effective range). Try boosting the frequencies just around the natural frequency of their voice to enhance resonance in that range – say. to “warm up” the reverb. Frequency Sliders (Low Shelf/Mid Band/High Shelf) These are the frequency sliders directly beneath the graph. in the 200Hz to 800Hz range. and high shelf bands. you might want to lower the High Shelf frequency while also reducing its amplitude. can all be set to any frequency desired. Coloration Tab Full Reverb dialog – Coloration tab Amplitude Sliders The three amplitude sliders to the right of the graph correspond to the low shelf. use lower values like 2 or 3. A quick way to get a different sounding reverb is to just adjust these sliders up or down. Q Box This value describes how wide the mid band’s affective area is frequency-wise. For just general boosting or cutting a wide range of frequencies.

use lower settings (like 100 to 250). However. Values up to 700 work fine. you should definitely check this option to minimize processing time. the original signal and its respective reverberated signal remain in its own channel. Presets Adobe Audition comes with several Full Reverb presets. • Use a high level (near 100%) along with low levels for the other sliders to give the feeling of being close to the source. The balance between the reverb and the original signal gives the impression of distance. that can be placed independently. Like the Early Reflec- tions volume. they give the listener a feeling for the overall room size and dimension. Basically. Adobe Audition then sums the left and right channels of a stereo source file before routing it to the effects processor. the more the graph affects the resultant reverberation. the lower the value. . this slider should be fine-tuned to give a pleasing mix that gives the impression you are after. • If the mixing for this is set too high though. Include Direct With a stereo waveform. • Use a low signal level to sound far away. Generally about half the volume of the original signal is a good starting point.134 CHAPTER 8 Effects Menu – Edit View ms Box This is the time. Early Reflections Since these are the echoes that first reach the ear. For more colored reverbs. More information on presets can be found in the “Looking at the Work Area” chapter. this requires twice as many calculations as a single audio source. the reverb sounds very unnatural. specified in milliseconds. Reverb (wet) This controls the volume of the dense layer of sound usually associated with reverb. If you know that both channels are identical (that is. If it’s too loud. • If the mixing for this is set too low the audio cues for room size will be lost. Mixing Section Original Signal (dry) This slider adjusts the amount of Original Signal with respect to the other levels to give the feeling of distance between the listener and the source. Combine Source Left and Right When working with stereo audio. check the Combine Source Left and Right box. there are actually two source signals (left and right). if they originated from a monophonic sample). checking this box will cause the original signal’s left and right channels to be phase shifted (delayed) slightly to match the direction of the incoming early reflections. If you’re after faster processing time. The Left/Right Location slider in Early Reflections determines the direction the audio will sound like it’s coming from when listened to with stereo headphones. that it will take for the reverb to decay at each frequency following the coloration curve. When unchecked. the result will sound somewhat artificial. so increase the reverb volume with respect to the original signal to make the source sound further away.

this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. undo the Full Reverb effect. Filter. Up to 10 delay units can be created. Multitap Delay Multitap Delay can be described as a combination of Delay. and filtering settings. you can achieve some very interesting effects. each with their own delay.ADOBE AUDITION 135 User Guide Preview Press the Preview button to audition the current Full Reverb setting before you apply it to the waveform. The selection is looped until you press the Stop button. As audio travels down the delay line (represented in the chart by the bottom horizontal arrow pointing to the right) portions at any point can be fed back into the delay line anywhere behind the given offset and at any feedback amount. add several seconds of silence using Adobe Audition’s Generate > Silence command. and Reverb effects. with any high or low cut filter. Make sure that there is enough silence at the end of the waveform for the reverb trails to complete. If the reverb abruptly cuts off before it fully decays. With experimentation. Multitap Delay dialog If one delay unit is placed inside another (as viewed in the chart above the controls) then the echo will occur more often than just once. Echo. feedback. and then rerun the Full Reverb effect. Since Adobe Audition’s Previews are dynamic. .

136 CHAPTER 8 Effects Menu – Edit View Delay Units This is a numbered list that displays the different Delay Units and their settings in the format: Delay [delay time] at [Offset] ([Feedback percentage]). if you have two delay units at offsets of 200 and 500. This setting is handy when designing reverb effects. However. This results in a very subtle effect. You can create a maximum of 10 Delay Units. The Add button creates a new Delay Unit with the current Delay Settings. which will cause echoing. This slider adjusts that delay. Each delay unit is represented in the graph above as a back-leading arrow starting at the Offset and going back the number of milliseconds stated under Delay. Low-Cut and High-Cut Filters Audio being fed back into the delay line can also be filtered before going back in. • If the feedback percentage is extremely low.) Delay Settings These are the characteristics used for the delay settings of each delay unit. then not very much of the original signal will be fed back into the loop. It is then mixed into an earlier point in the delay line. • If the feedback slider is set too high. definite ringing and true feedback will occur. The difference between the offsets is what is important. audio from the destination of the delay loop is mixed back into audio from the originating delay offset. The High-Cut filter can also cut or even boost the high frequencies. for interesting effects. . it also goes from the destination up to the source – a sort of forward feedback. in milli- seconds. but with a slightly different filtering setup. or “feedforward”. the low frequencies are reduced (or boosted) depending on the Cutoff and Boost settings. (It uses two sliding bands with variable cutoff points instead of 8 bands of filtering. Feedback •Is the percentage of the original signal to feed back into the delay line. Click on a different delay unit in the list (or add a new one) to bring up the Delay settings for that particular delay unit. Instead of going one way (from the offset back a certain number of milliseconds). the resulting audio will sound the same if they were at 100 and 400. With a low-cut filter. The result is an echo with a period of the delay given to be generated. Very short delays give ringing or robotic sounding events. which is similar to the feedback you hear when a live microphone is set too close to a loudspeaker. With several delay units of varying delays added. A single delay unit is much the same as the Echo function. For instance. This will make each successive echo filtered slightly differently. Allpass Feedback To help prevent the DC component from getting out of hand (the waveform tending upwards or downwards until it clips). Click on a delay unit in the list to adjust the Delay Settings sliders for that particular Delay Unit. and the Remove button deletes the currently highlighted Delay Unit. Longer delays give more distinct echoes. the final echo pattern could become very complex. When turned on. The audio will get louder and louder until it clips and becomes distorted. enable the Allpass Feedback option. not their absolute position. sometimes you may want this effect. Delay Adobe Audition feeds audio back into the delay line after a certain delay. Keep in mind that it’s the relative positions of the offsets of the delay units that make a difference. Offset Adjusts the point in the delay line from which Adobe Audition will take the audio.

• Right Only: The delay effect appears only on the right channel of stereo audio. Presets Adobe Audition comes with several Multitap Delay presets. Changes in the cutoff value affect the tone of the echoes. at least one delay unit in the group should be cross-channel or singlechannel only. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. . • Stereo Swap: The delay effect for the left channel is mapped to the right channel and vice-versa • From Left to Right: The audio from the left channel is delayed and put onto the right channel • From Right to Left: The audio from the right channel is delayed and placed onto the left channel. To spread out the effect in the stereo domain. which means the audio is being cut or reduced in the affected frequency range. frequencies are generally not boosted. The selection is looped until you press the Stop button. • Cutoff: Frequencies below this setting are affected by the Low-Cut filter. • Boost is the amount of filtering to perform. Channel Buttons Several options are provided for use with stereo source audio: • Left Only: The delay effect appears only on the left channel of stereo audio. it helps to cut some of the high frequencies to simulate absorption of the high frequencies by the surrounding walls. When echoing. Boost settings are usually negative. Boosting a low-cut filter while reducing the feedback setting is identical to reducing a high cut filter and increasing the feedback setting. However. • From Center to Surround: The audio from the center channel (the audio common to both left and right channels) is delayed and placed into the surround channel (the left channel inversed with respect to the right channel). Since Adobe Audition’s Previews are dynamic. Frequencies above this setting are affected by the High-Cut filter. • Lower negative values result in more audio being cut. • Positive values result in boosted frequencies. you can create interesting effects by entering positive values. • Discrete Stereo: The delay effect appears on both channels of stereo audio.ADOBE AUDITION 137 User Guide When designing a reverb. Preview Press the Preview button to audition the current Multitap Delay setting before you apply it to the waveform. More information on presets can be found in the “Looking at the Work Area” chapter. as more or less of the frequencies are affected by the filter.

138 CHAPTER 8 Effects Menu – Edit View QuickVerb Like Adobe Audition’s two other reverb effects (Full Reverb and Reverb). measured in milliseconds. Move the slider to the left if you want a reverb with more echo characteristics. thus increasing the processing load on your system) QuickVerb is faster to use. Diffusion This setting defines the “texture” of the reverb. Mixing The controls in this section determine the amount of reverb to mix in with the original audio source. You may also specify an exact value. while positions right of center will produce a smoother reverberation with fewer echoes. A text box is provided so that you can enter a value directly. This means it can be altered more quickly and effectively in Adobe Audition’s Multitrack real-time environment. . The QuickVerb dialog Here are the major components of the QuickVerb dialog: Room Size Use this slider to set the size of the room you wish to simulate. use higher numbers to create a larger virtual space. The exact frequency may be entered directly in the text box to the right. However. since it isn’t convolution-based like Full Reverb and Reverb (which require more power to run. High Cutoff Frequency This slider specifies the uppermost audio frequency at which the reverb effect can occur. You can enter the exact frequency in the text box to the right. Decay The amount of reverberation decay is adjusted with this slider. Low numbers equate to a smaller room. Low Cutoff Frequency The lowermost audio frequency at which the reverb effect can occur is set with this control. or directly enter a value in the text box to the right. QuickVerb allows you to add reverberation to your audio in order to simulate a different acoustic space. in the text box to the right. without the need for “locking” the effects to the track.

Alternatively. So what’s the difference between Adobe Audition’s Reverb and Full Reverb effects? Full Reverb is the newer of the two. a tiled bathroom shower. These echoes can be spaced so closely together. The selection is looped until you press the Stop button. and provides more options and better audio rendering. However. or type in the percentage directly in the text box to the right. or a grand amphitheater. • Set the percentage of reverb to place in the effect using the Reverb (wet) slider. and consists of both early reflections and echoes that are so closely spaced that they’re perceived as a single decaying sound. which can be either large or small. and made to occur at such random times. so we’re happy to continue including it with new releases. or type in the percentage directly in the text box to the right. More information on presets can be found in the “Looking at the Work Area” chapter. Since Adobe Audition’s Previews are dynamic. depending upon the initial delay times. initial early-reflection delays can be used to give a sense of room size. Presets Adobe Audition comes with several QuickVerb presets. Reverb dialog Adobe Audition’s Reverb function can create a wide range of high-quality reverb effects. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.ADOBE AUDITION 139 User Guide • Set the percentage of source audio to leave in the effect using the Original Signal (dry) slider. that the signal’s reverberated “trail” will decay smoothly over time. many folks still use and prefer the older Adobe Audition Reverb effect. . Reverb Reverb is an effect used to simulate acoustic space. Preview Press the Preview button to audition the current QuickVerb setting before you apply it to the waveform. a concert hall. and will have a warm and natural sound. It can reproduce such acoustic or “ambient” environments as a coat closet. Reverb is different from the basic Echo effect in that the delays aren’t repeated at regularly spaced intervals.

conversely. In general. • Faster absorption times simulate rooms that are occupied and have furniture and carpeting. Attack Time The amount of time it takes for the reverb to gain full strength is known as the attack time. High Frequency Absorption Time In acoustic environments. Total Reverb Length This is the time. higher frequencies tend to attenuate faster than lower frequencies. Generally speaking. For instance. Perception This parameter gives subtle qualities to the environment by enabling you to change the characteristics of the reflections that occur within a room. However. higher values (up to 60%) simulate large rooms. For short reverb times. Even a Total Reverb Length as little as 300 milliseconds can open up the perceived spaciousness of a dry sound (one that was recorded without any effects or reverb). in milliseconds. In general. and then use Reverb to make it sound more natural. • With lower values. where higher frequency reflections are more prevalent. the reverb is “smoother” and doesn’t have as many distinct echoes. Use this slider to simulate this natural absorption so that the high frequencies are reduced in level during the reverb’s decay time. use Adobe Audition’s Echo effect first to get the “size” of the room sound. you can create interesting and subtle effects by using longer attack times with shorter reverb lengths. by combining very short attack times with long reverb lengths.140 CHAPTER 8 Effects Menu – Edit View To simulate specific rooms that have both echoes and reverb. • Higher values cause more variation in the reverb amplitudes and add more spaciousness by creating distinct reflec- tions over time. • Slower times (especially over 1000 milliseconds) simulate rooms that are emptier. . the attack time should be smaller. • Use values between 400 and 800 to simulate medium sized rooms. setting Total Reverb Length to 3000 milliseconds will give you the reverb trails of giant amphitheaters. • Use values below 400 to create a small room environment. This function can create a sense of spaciousness in a monophonic signal (one that has been recorded as or converted into a stereo audio file). or. like night clubs or theaters. • Use values above 800 to simulate concert halls. a value of about 10% of the total reverb time works well. lower values (down to 0%) simulate smaller rooms. like gymnasiums or auditoriums. that it takes for the reverb signal to trail off to infinity (about -96dB).

However. In general. • When unchecked. Preview Press the Preview button to audition the current Reverb setting before you apply it to the waveform. Since Adobe Audition’s Previews are dynamic. Sweeping Phaser Like the Flanger effect. If the reverb abruptly cuts off before it fully decays. • When this box is checked. Mixing The Mixing section provides the following options: Original Signal (dry) This setting determines how much of the unprocessed (dry) signal is mixed into the final output. a value of 90% or so should work well. Presets Adobe Audition comes with several Reverb presets. If you know that both channels are identical (that is. the lower the original signal volume should be. you might want to reduce the volume of the original signal. the wet amount should ordinarily be lower than the dry signal to add spaciousness to a track. so you can check this option for faster processing. If you're trying to achieve a special effect with reverb. If the reverb is so great that audio begins to clip. Make sure that there is enough silence at the end of the waveform for the reverb trails to complete. and then rerun the Reverb effect. The Sweeping Phaser sweeps a notch or boost type filter back and forth about a center frequency. This does. Combine Source Left and Right When working with stereo audio. creating special effects popularized by guitarists of the 1960s. In modern production. undo the Reverb effect. a Phaser introduces a variable phase-shift to a split signal and recombines it. To add spaciousness to an instrument. keep the dry signal higher. the original signal and its respective reverberated signal remain in its own channel. More information on presets can be found in the “Looking at the Work Area” chapter. if they originated from a monophonic sample).ADOBE AUDITION 141 User Guide A setting of 100 and a reverb length of 2000 milliseconds or more creates interesting canyon effects. require twice as many calculations as a single audio source. In most cases. you may want to increase this amount to simulate physical distance from the audio source (where reverb is heard in greater proportions to the original signal). The selection is looped until you press the Stop button. that can be placed independently. or at 100%. . Reverb (wet) This setting determines how much of the reverberated (wet) signal is mixed into the final effect output. add several seconds of silence using Adobe Audition’s Generate > Silence command. there are actually two source signals (left and right). try reducing both the dry and the reverberated signal strength. Adobe Audition sums the left and right channels of a stereo source file before routing to the effects processor. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. however. the more reverb you add. you should definitely check this option to minimize processing time.

which is a ratio of width to center frequency.142 CHAPTER 8 Effects Menu – Edit View Sweeping Phaser dialog A phase is similar to a flange. The value is given as a Q value. the stereo image can be dramatically altered to create some truly interesting sounds. Sweeping Rate The Sweeping Rate is the speed at which the filter sweeps around the center frequency. for instance. and Tempo (beats per minute). enter the BPM of the music. or cycles per second. Values are given in Hertz (Hz). (Entering 240 for a song with a tempo of 120 would sweep in eighth notes. Frequencies closer to the middle of the dynamic range of the selected audio will produce more dramatic results. frequencies are phase-shifted over time. The value is given as a Q value. Period (milliseconds). which is a ratio of width to center frequency. Depth This setting determines the degree of phasing. except that instead of using a simple delay. Filter Characteristics Sweep Gain This slider lets your apply variable amounts of Sweep Gain. Take care to avoid clipping when applying higher positive values Center Frequency This is the frequency around which the phase will sweep. or a fraction of it. covering the dynamic range specified by the Depth setting. You can think of it as a “strength” setting for the phase. or enter a value directly into one of the text boxes. When used on stereo files. Greater Depth settings cause the sweep to extend farther away from the center frequency in both directions (covering a greater frequency range). producing a wider tremolo effect. for example. To have the sweep occur in time with a song. Resonance This is the amount of phase-shift that is applied to the signal. You can adjust the rate with the slider. which is the gain applied to the phased signal.) .

• The Sinusoidal and Triangular options determine if the sweep will follow a sine or triangle curve. Filter Type With the Band Pass option selected. anything found in the plug-in’s Properties area). The default value of 0dB represents no master gain adjustment. Sweep Modes These settings determine the shape of the filter sweep used. More information on presets can be found in the “Looking at the Work Area” chapter. Some plug-ins may support real-time preview. 180 and -180 are the same value. Note: Most folks will want to use the Band Pass option. Triangle curves will tend to be sharper. • The Log Frequency Sweep and Linear Frequency Sweep options determine if the sweep will be done in a logarithmic. A value of 180 yields a complete difference. You can compensate for loss. In other words. Preview Press the Preview button to audition the current Sweeping Phaser setting before you apply it to the waveform. constant fashion. Values farther away from 0 or 360 cause the sweep to occur at increasingly distant intervals between the left and right channels. Using a DirectX plug-in works the same as any other Adobe Audition effect. Master Gain This value adjusts the overall volume output. If you choose the Low Pass option. Both positive numbers (from 1 through 359) and negative numbers (from -1 through -359) may be entered in this field. it will automatically appear in the Effects > DirectX cascading menu. Most plug-ins have a settings dialog where you can tweak the parameters of the effect before applying it to the selected region of the waveform. all variation is done around the frequency designated by the Center Frequency slider. or an even. No problem! Any DirectX audio plug-in can be used from within Adobe Audition. but some folks like to augment Adobe Audition’s processing power with DirectX (sometimes called ActiveMovie) audio plug-ins from other software companies. or other particularities. The selection is looped until you press the Stop button. linear fashion. Since Adobe Audition’s Previews are dynamic. since it gives you the traditional sound of a sweeping phaser. DirectX We’d like to think that Adobe Audition has every audio effect any user will ever need.ADOBE AUDITION 143 User Guide Stereo Phase Difference This is the degree which the sweep interval is shifted between the channels of a stereo waveform. You’ll need to consult the documentation provided by the plug-in manufacturer for any help with its proprietary features (that is. . When correctly installed. A low negative number (such as -45) is the same as a high positive number (315). introduced by the effect by entering an overall master gain (measured in dB) to be applied to the resulting audio. and -5 and 355 refer to the same amount of degrees. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. the Sweeping Phaser effect will keep everything from the specified Center Frequency down. or excessive gain. Presets Adobe Audition comes with several Sweeping Phaser presets. 90 and -270 mean the same thing.

For instance. Each area uses a graph control for adjusting parameters. Dynamic EQ Dynamic EQ allows you to change the amount of equalization over the length of the waveform. Frequency Tab The graph control in the Frequency window is used to set the EQ frequency. The x-axis (horizontal) ruler represents the length of the selection. . the first part of an audio file can have a certain EQ profile (a mix of certain frequencies boosted or cut. as well as gain and bandwidth adjustments) while the middle and final portions of the audio file can have a completely different EQ profile. The effects in this menu can be used to alter an audio file or selected range’s frequency content in many different ways. The Dynamic EQ dialog provides three tabbed areas for adjusting Gain. see the “Looking at the Work Area” chapter. you get a new envelope that determines the delay. The x-axis (horizontal) ruler represents the length of the selection. Gain Tab Use the graph control in the Gain window to adjust the amount of amplitude or attenuation the Dynamic EQ effect uses. while the y-axis (vertical) ruler represents the dB level that’s boosted or cut. Frequency. Dynamic EQ dialog Dynamic EQ is especially cool when used as a real-time effect in the Multitrack View. while the y-axis (vertical) ruler represents the frequency that’s boosted or cut. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). If you add Dynamic EQ (or Dynamic Delay which has a similar principle) to the Multitrack View.144 CHAPTER 8 Effects Menu – Edit View Filters Use filters to modify a signal’s frequency content. and Q (bandwidth).

Spline Curves Check this box – which appears in each of the Gain. Filter Type Three types of filters are offered: • Low Pass passes the low frequencies while rejecting (or removing) high frequencies. Flat Press the Flat button – which appears in each of the Gain. the line won’t ordinarily travel directly through the control points. Note: You must have View > Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation. When you use spline curves. Loop Graphs When this box is unchecked.ADOBE AUDITION 145 User Guide Q (Bandwidth) Tab The Q (bandwidth) window’s graph is used to adjust the amount of Q used by the Dynamic EQ effect. Frequency. the graphs are the same length as your selection. • Band Pass: This mode preserves a range of frequencies (that is. • Check the Automated box in the Gain section of the Multitrack View version of the Dynamic EQ dialog to draw the Gain curve using a yellow envelope on waveform blocks. so the dynamic changes to your equalization are graphed across the whole selection. click to create more control points near the point in question. the closer the spline curve will be to those points. so they loop repeatedly over the course of the selection. More information on presets can be found in the “Looking at the Work Area” chapter. the graphs are only as long as specified in the Graph Duration field (which is enabled when Loop Graphs is checked). and Q (bandwidth) tabbed windows – to generate a smoother. • Check the Automated box in the Frequency section of the Multitrack View version of the Dynamic EQ dialog to draw the Frequency curve using a pink envelope on waveform blocks. Since Adobe Audition’s Previews are dynamic. while the y-axis (vertical) ruler represents the frequency that’s boosted or cut. the points control the shape of this curve. Frequency. Presets Adobe Audition comes with several Dynamic EQ presets. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). • High Pass passes high frequencies and removes low frequencies. Instead. The x-axis (horizontal) ruler represents the length of the selection. a band) while removing all other frequencies. Preview Press the Preview button to audition the current Dynamic EQ setting before you apply it to the waveform. The more control points there are clustered together. The selection is looped until you press the Stop button. To get the curve closer to a control point. best fit curve instead of a straight line between control points on the graph. it supports parameter automation. . removing all Control Points. and Q (bandwidth) tabbed windows – to reset the curve to its default state of an unchanged signal. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Automated When using Dynamic EQ as a real-time effect in Multitrack View. If you check Loop Graphs.

146 CHAPTER 8
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FFT Filter
The graphic nature of the FFT (Fast Fourier Transform) Filter makes it easy to draw curves or notches for rejecting or boosting specific frequencies. Use it to create band-pass filters (which keeps only a certain band of frequencies), high/low-pass filters (for reducing or eliminating the low or high-end frequencies), narrow-band pass filters (to simulate the sound of a telephone call), or notch filters (which eliminate very narrow frequency bands).

FFT Filter dialog

The noise level of the FFT Filter is lower than that of 16-bit samples, so when processing audio at 16-bit resolution or lower, there should effectively be no extra noise induced by the FFT Filter. For example, the stop band noise of a Blackman window will be below the -96dB mark. For optimal results, filter using 32-bit samples. If your source audio is 8-bit or 16-bit, try converting to 32-bit to do the filtering, and when done, you can convert back to the lower resolution with dithering. This will produce better results than processing at lower resolutions, especially if more than one transform will be performed on the audio.
Passive/Logarithmic Buttons Select Passive mode to express frequency changes (boosts or cuts) in terms of percentages, where a setting of 100% represents no change. Select Logarithmic mode when you want to express changes in terms of dB, where 0dB represents no change.

ADOBE AUDITION 147 User Guide

View Initial Filter Graph/View Final When the Lock to Constant Filter box isn’t checked, you can choose both an Initial

and a Final filter setting. Filtering will gradually go from the initial state to the final state. The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter.
Log Scale Choose this option to display the x axis (frequency scale) logarithmically rather than in linear fashion. When

Log Scale is checked, the graph represents the frequency curve more closely to the way the ear hears sound.
• To do finer editing in low frequencies, leave Log Scale checked. • For detailed high frequency work, or work with evenly spaced intervals in frequency, uncheck this option. Spline Curves Check this box to generate a smoother, best fit curve instead of a straight line between control points on

the graph. When you use spline curves, the line won’t ordinarily travel directly through the control points. Instead, the points control the shape of this curve. To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the spline curve will be to those points. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points).
Flat Press the Flat button to reset the curve to its default state of an unchanged signal, removing all Control Points. Max/Min These boxes allow you to enter a maximum and minimum value for the graph’s y axis. Adobe Audition displays

the values in the ruler to the right of the graph. These settings affect the maximum boost or cut that the frequency curve represents.
FFT Size The FFT Size parameter specifies the size of the FFT to use (represented as a power of two), which can affect processing speed and quality. For cleaner sounding filters, use higher values. Recommend values are between 1024 and 8192.

Use lower values (512 or so) when tweaking your filter for faster Preview response. When you have the settings the way you want them, switch to a higher FFT size for better quality when processing.
Windowing Function The windowing function determines the amount of transition width and ripple cancellation that

occurs during filtering, with each one resulting in a different frequency response curve. These functions are listed in order from smallest width and greatest ripples to widest width and least ripples. The filters with the least ripples are also those that more precisely follow the drawn graph, and have the steepest slopes, even though they are wider, and pass more frequencies in a band-pass operation. The Hamming and Blackman filters give excellent overall results. Try different windowing functions if you these don’t give you the effect you want.
Lock to Constant Filter Check this option to apply a constant filter to the waveform. Uncheck it to choose both an initial and a final filter setting. The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings.

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Morph If Morph is checked, the transition from the initial filter settings to the final filter settings will actually “morph””

from one to the other. If this is not checked, the settings simply change in linear fashion over time. For example, if you leave Morph unchecked and have a spike at 10kHz for the initial filter and a spike at 1kHz for the final filter, the spike at 10kHz will gradually decrease, and the spike at 1K will gradually increase over time. However, frequencies between 1kHz and 10kHz won’t be affected. If morphing is on, the spike itself will “ooze” from 10kHz down to 1kHz, passing many of the frequencies in between. For a cool example of morphing, try choosing Passive mode, and set an initial curve with the first half at 100%, and the second half at zero. For the final curve, set the right 1/10th or so at 100% with the rest at zero. This selects high frequencies for the initial configuration, and low frequencies for the final configuration. To get a nice blending from high to low, choose Morph to include all the frequency combinations between the two filters. To see exactly what’s happening as the filtering changes from the initial configuration to the final, push the Transition Curve button to view the actual settings that will be used over the duration of your selection. Morphing is generally any technique used to transform one object into another. In the case of filter settings, it is a way to smoothly transform one setting (represented by a graph) to another by estimating all the possible combinations of the two settings. Over time, the first setting becomes the second. At some point, the setting will stop looking like the initial configuration, and start looking like the final configuration. In the filtering world, this means that frequencies between the ones selected to be filtered will also be filtered. In migrating from the initial to the final filter configuration, the points in the “in-between” settings are just the average between the two settings. For example, a filter setting exactly between the initial and final would be the exact average of the initial and final filter settings.
Precision Factor This value determines how accurately you want to filter over time when separate initial and final settings are used. A larger number (low factor) means the filter settings will change roughly, or in chunks, from initial to final, while smaller numbers (higher factor) will make the transition much smoother. In any case, the higher the precision factor, the longer it will take to filter your selection, but the nicer it will sound.

Since the FFT function takes a large group of samples, and filters them all at once, the precision factor determines how many samples from the entire group will actually be saved. A factor of 2 means that half of the samples are saved, while a factor of 10 means that 1/10 of the samples are saved. Since there can be only one filter setting for the entire group of samples, you may want a more accurate (or smaller) setting if the EQ curve varies wildly over short periods of time.

ADOBE AUDITION 149 User Guide

FFT Filter Transition Curve dialog Transition Curve Select this button to open the Transition Curve window. It displays a graphical representation of the transition from initial to final filter settings. The top graph shows time along the x axis (with the left representing the start of your sample, and the right side representing the end), and where in the transition you are allowed the y axis (with 0% representing your initial filter, and 100% representing your final filter). All points in between are a combination of your initial and final filter arrangements. The readout below the graph displays the current x, y position of your mouse.

In the Transition Curve window, select from the following options:
• The Flat button in the Transition Curve window resets the curve to its default state of an unchanged signal, removing

all Control Points.
• Check this Graph response at point option to have the bottom graph update in response to your mouse position in

the top graph. The bottom graph shows the filter at any given point in the transition (provided the Graph response option is checked), and corresponds directly to the position of the mouse in the top graph (click, or click and drag to update the view). Watch how the filter settings change as you move your mouse up and down in the top graph. Depending on the position you select, you can decide whether you want a morphing transition, or a linear transition. Each type of transition will give different filter settings for the points between your initial and final filter settings. For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter.
Presets Adobe Audition comes with several FFT Filter presets. More information on presets can be found in the

“Looking at the Work Area” chapter.
Preview Press the Preview button to audition the current FFT Filter setting before you apply it to the waveform. The selection is looped until you press the Stop button. Since Adobe Audition’s Previews are dynamic, this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

150 CHAPTER 8
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Graphic Equalizer
With the Graphic Equalizer, you can boost or cut the signal at particular frequency bands, and have a visual representation of the overall EQ curve. Unlike the Parametric Equalizer, the Graphic Equalizer uses preset frequency band controls for quick and easy frequency equalization.

Graphic Equalizer dialog (30 Bands tab)

Adobe Audition’s Graphic Equalizer is implemented as an FIR (Finite Impulse Response) filter, which maintains phase errors over the response curve, unlike IIR filters which can have phase error (often audible as a ringing quality). This means that to gain higher accuracy in the lower frequencies, a higher accuracy (the size of the FIR filter) must be used. The bands can be spaced at either one octave, one-half octave, or one-third octave intervals, with the appropriate Q setting such that if adjacent bands are boosted, the result has no drop outs at intermediate frequencies.
Bands Tabs The Graphic Equalizer bands are spaced at either one octave (10 band), one-half octave (20 band), or one-

third octave (30 band) intervals. Select the appropriate tab to access the number of EQ bands you need. As you might expect, the 10-bands mode offers more general equalizing, while choosing 20 or 30 bands will let you zoom in on specific frequency ranges more precisely. Other than the number of bands, the controls in each tabbed Graphic Equalizer window are identical.
Reset All to Zero This button sets all sliders to 0dB so there’s no equalization. Band Use this drop-down list to select the band that’s to be modified with the value entered in the Gain box to the right.

ADOBE AUDITION 151 User Guide

Gain This is where you enter the exact value for the gain (measured in dB) being used in the chosen band. Graph Actual Response Because this is an FIR filter, the response may not actually match the desired equalization curve

at lower accuracy levels. Press this button to see the actual response of the equalizer rendered in the window above the band sliders.
Accuracy Entering higher accuracy levels (longer FIR filters) in this text box will give better frequency response in the

lower ranges. Note: Higher values require more processing time, but you can use lower accuracy levels if you only want to equalize higher frequencies. If you are equalizing very low frequencies, you should probably raise the accuracy. Values between 500 and 5000 points work well.
Range This field defines the range of the slider controls. Enter any value between 4dB and 180dB. As a comparison, standard hardware equalizers usually have a range of 30dB to 48dB. Master Gain After the EQ settings have been adjusted, the overall volume level might be too loud or too soft. You can

compensate for this by entering an overall master gain to be applied to the resulting audio. The default value of 0dB represents no master gain adjustment.
Presets Adobe Audition comes with several Graphic Equalizer presets. More information on presets can be found in the

“Looking at the Work Area” chapter.
Preview Press the Preview button to audition the current Graphic Equalizer setting before you apply it to the waveform. The selection is looped until you press the Stop button. Since Adobe Audition’s Previews are dynamic, this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

Graphic Phase Shifter
The Graphic Phase Shifter lets you adjust the phase of a waveform by adding control points to a graph. The x-axis (horizontal edge) of the graph measures the waveform’s frequency content, while the graph’s y-axis (vertical edge) displays the degrees of phase to shift, with zero degrees representing no phase shift.

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Graphic Phase Shifter dialog

Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points), see the “Looking at the Work Area” chapter. Most surround sound stereo decoders do different things with audio depending on the phase relationship. If you’re trying to take advantage of surround sound, try making just one channel 90 degrees out of phase. This would play the audio on all channels when surround-sound decoded. If you make the left channel 180 degrees out of phase (this is the same as just inverting one channel), it’ll play on the rear speakers when decoded. You can create simulated stereo by creating a zigzag pattern that gets “zigzaggier” at the high end on one channel. Put two channels together that have been processed in this matter (using a different zigzag patterns for each) and the stereo simulation is more dramatic. (This would have the same effect as making a single channel twice as “zigzaggy”.) If you adjust the phase of one channel in just a small frequency band first, then use Flange or another Adobe Audition effect that depends on phase, you’ll get different results than with non-pre-phase-shifted audio.
Splines Check this option to generate a smoother, best fit curve instead of a straight line between control points on the

graph. When you use Spline Curves, the line will not ordinarily travel directly through the control points; rather, the points control the shape of this curve. Use spline curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). To get the curve closer to a control point, click to create more control points near the point in question. The more control points there are clustered together, the closer the Spline Curve will be to those points.
+/-360º Range When checked, the graph’s y-axis (vertical) ruler goes from +360 degrees (top) to -360 degrees (bottom).

Each octave occupies a fixed width on the display. Use this filter when you wish to remove very narrow band frequencies. Log scale is how the ear hears. in addition to standard telephone DTMF tones. Log Frequency Scale Check this option to represent the values of the graph’s x-axis (horizontal) ruler logarithmically. If this option is unchecked. More information on presets can be found in the “Looking at the Work Area” chapter. This is because we cannot hear phase directly. Channel Use this drop-down list to choose the channel(s) you want to apply the phase shift to. Check the Bypass box below to bypass the effect so that you can do a “before and after” comparison. it’s best to process a single channel. you can remove a 60Hz hum while leaving all 59Hz and 61Hz audio untouched.ADOBE AUDITION 153 User Guide Uncheck the box the have the y-axis ruler display values from +180 degrees (top) to -180 degrees (bottom). the values of the graph’s x-axis ruler are shown linearly from 0Hz to the Nyquist. For example. Notch Filter This filter removes up to six user defined frequencies. Flat This button resets the graph so that a straight horizontal line appears at zero degrees. Presets Several Graphic Phase Shifter presets are included. . but take longer to process. You would use this mode to work at finer detail in the lower frequencies. Octaves on the left take up much less width on the display than do octaves on the right. Preview Press the Preview button to audition the current phase shift settings before you apply them. So for interesting effects. All control points are removed except for the ones at the end of the line. Note: Keep in mind that applying any phase shift to both channels simultaneously will result in a file that sounds exactly the same as it did before being processed when you’re listening in stereo. FFT Size Select the desired FFT size (measured in points) from this drop-down list. even though it may be phase shifted all over the place. so evenly spaced locations on the log scale represent what we hear as evenly spaced frequencies. Higher sizes usually lead to more precise results.

More information on presets can be found in the “Looking at the Work Area” chapter. • When this box is checked. Just check which set of tones you wish to filter. which is very specific. Both the lower and upper DTMF tone sets (those used in the telephone system) can also be filtered as well. Then. to Super Narrow for a sixth order notch filter. • Uncheck the box to set individual attenuation levels for each of the frequencies. Presets Adobe Audition comes with several Notch Filter presets. no more than 60dB for Very Narrow. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. The selection is looped until you press the Stop button. all attenuation levels are the same. Preview Press the Preview button to audition the current Notch Filter setting before you apply it to the waveform. It’s recommended that you use no larger than 30dB attenuations for a Narrow setting. You can apply different amounts of attenuation for each frequency by unchecking Fix Attenuations to at the bottom of the Notch Filter dialog. Since Adobe Audition’s Previews are dynamic. Fix Attenuations to This allows you to set attenuation levels.154 CHAPTER 8 Effects Menu – Edit View Notch Filter dialog Tones to Notch Here you may select and enter up to six frequencies to notch. enter the attenuation level (measured in dB) desired. Click in the checkbox to activate the box for entering a particular frequency (measured in Hz). They range from Narrow for a second order notch filter. which can remove some side frequencies. Notch Width This drop-down control lets you select from three notch width presets. and no more than 90dB for Super Narrow. . This is sometimes handy when preparing audio that could air on the radio. Any more attenuation for the given notch width will result in a wide range of neighboring frequencies being removed as well.

Parametric Equalizer dialog For example. you can boost a broad range of frequencies that are centered around 1000 Hertz (1kHz). which are very fast and can give very precise resolution. Graph The graph depicts frequency along the x-axis (left and right) and amplitude along the y-axis (up and down). To increase or decrease the lows (bass) at any time. They differ from equalizers that offer a specific number of frequencies and Q bandwidths (which determines how many overall frequencies will be affected by a single. or you can boost the low frequencies while simultaneously inserting a 60 Hz notch filter. Q. Low Shelf The slider directly to the left of the graph determines the Low Shelf amplitude in dB. just adjust the slider. with the curve representing the amplitude change at specific frequencies. .ADOBE AUDITION 155 User Guide Parametric Equalizer Parametric equalizers are used for fine editing of frequencies within a sound. selected frequency control) in that they give you continuous control over the frequency. and gain settings. or enter a dB level in the box at the bottom of the slider. it’s easy to boost just the bass at 40Hz to 45Hz. Adobe Audition’s Parametric Equalizer uses IIR filters (second order). For instance. Frequencies in the graph range from lowest to highest in a logarithmic fashion (evenly spaced by octaves). with the parametric equalizer. even at the lower frequencies.

The high pass (so named because it allows the high frequencies to pass. for example. amplifier noise. no matter which frequency is being boosted. Since Adobe Audition’s Previews are dynamic. a larger range of frequencies will be affected. while reducing the lows) is often used to reduce low-end rumble. Constant Q is the most common setting. and the like. To fine-tune the range of frequencies being boosted or cut. A frequency may also be entered in the box to the right of the slider. More information on presets can be found in the “Looking at the Work Area” chapter. To fine-tune the range of frequencies being boosted or cut. which is ideal for notch filters where only a particular frequency needs to be removed. This gives you very fine control over the shape of the equalization curve. High Shelf The slider directly to the right of the graph determines the High Shelf amplitude in dB. To increase or decrease the highs (treble) at any time. This can be a Q value (which is a ratio of width to center frequency) or an absolute width value in Hz. while reducing the highs) is often used to reduce hiss.or low-end of the audio spectrum. hum. Width The Q or Width value (depending on the Constant Q/Width setting below) controls the width of the affected frequency band. adjust the High Shelf Cutoff slider located directly below the graph. High Shelf Cutoff High and low pass filters cut the extreme high. or enter a dB level in the box at the bottom of the slider. but you may want to use Constant Width if.or low-end of the audio spectrum. like a 60-cycle hum. Master Gain After the EQ settings have been adjusted. or enter a specific frequency in the box to the right of the slider. just adjust the slider. If a Q value is very high (above 100). Intermediate Bands You can place up to five intermediate bands into the EQ circuit. Check the box next to a slider to activate the band and its corresponding volume slider. Q values of 1 to 10 are used most often for general equalization. . Presets Adobe Audition comes with several Parametric Equalizer presets. it will tend to “ring” or resonate at the audio at that frequency. The selection is looped until you press the Stop button. the overall volume level might be too loud or too soft. adjust the Low Shelf Cutoff slider located directly below the graph. The horizontal sliders located below the Cutoff sliders control the center frequency at which the boost or cut will occur. you want the length of ringing to be a constant. or enter a specific frequency in the box to the right of the slider.156 CHAPTER 8 Effects Menu – Edit View Low Shelf Cutoff High and low pass filters cut the extreme high. The vertical sliders in the upper right of the Parametric Equalizer window control the amount of boost or cut. Preview Press the Preview button to audition the current Parametric Equalizer setting before you apply it to the waveform. Constant Width/Constant Q This parameter describes a frequency band’s width. The low pass (so named because it allows the low frequencies to pass. With lower Q values (or greater Width values). or other unwanted low-frequency sounds. You can also enter boost/cut amount (dB) in the entry box below each slider. This can be compensated for by entering an overall master gain (measured in dB) to be applied to the resultant audio. only a very narrow band will be affected. You should be aware that whenever a very narrow band is boosted. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

It works much the same as a standard audio equalizer does. Click on the appropriate tab to change Initial and Final Settings. choose this tab to select the final EQ settings. Amplitude is shown above each slider. Essentially. but it will also increase or decrease frequencies all the way down to the lowest band. • Check this box to equalize the entire selected range with the setting shown. Use the Master Gain sliders to reduce the level before applying the effect. Lock to these settings only Equalize or vary settings with this option. Many times when you increase the EQ frequencies of a waveform. The highest frequency band will increase or decrease the high end. Equalizer Bands Adjust these sliders to increase or decrease the frequency component specified beneath the slider. Lock L/R: This functions as a toggle to let you adjust channels together or separately. except that the bands act a bit differently. but not quite. • Uncheck this box to select separate initial and final equalization settings. Quick Filter dialog Initial Settings When the Lock to these settings only box isn’t checked. Sliders are provided for both the left and right channels of stereo waveforms. the waveform’s volume is increased as well. of course. this is a quick and easy function for changing the tone of your sample to make it more pleasing to the ears. increase or decrease the high frequencies more than the low ones. choose this tab to select the initial EQ settings. Master Gain This control adjusts the equalizer’s overall level. which could lead to clipping. It will.ADOBE AUDITION 157 User Guide Quick Filter Quick Filter is an 8-band equalizer can be easily customized to suit many filtering needs. Final Settings When the Lock to these settings only box isn’t checked. . however. so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected range. The effect is close to an equalizer.

Since Adobe Audition’s Previews are dynamic. or high or low pass filtering. . More information on presets can be found in the “Looking at the Work Area” chapter. band reject (notch). Similarly. maintaining the same settings for each channel. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. set the higher frequency scroll bars to -30 to cut out higher frequencies. Presets Adobe Audition comes with several Quick Filter presets. To produce a semi low-pass filter. • Uncheck Lock to adjust the channels separately. the scroll bars for the left and right channels will move together. You can create some very interesting effects by changing the initial and final equalization settings so that they can “morph” from one curve type to another (such as having a “bass-y” curve change to a flat one at the introduction of a song). Preview Press the Preview button to audition the current Quick Filter setting before you apply it to the waveform. Scientific Filters Adobe Audition’s Scientific Filters provide high-order IIR (Infinite Impulse Response) filters for precise band pass. Note: Boosting any of the frequencies to very high values may lead to clipping. The selection is looped until you press the Stop button.158 CHAPTER 8 Effects Menu – Edit View • With Lock L/R checked. you can create a high pass filter by reducing the lower frequencies.

Butterworth. You must specify two cutoff points to define the edges of the band. Band Stop Also known as a notch filter. You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected. and how much the filter attenuates. Note: Some of the following functions are common to all four types of Scientific Filters. a band) while removing all other frequencies. You must specify two cutoff points to define the edges of the band. Band Pass This mode preserves a range of frequencies (that is. and will reject any frequencies within the specified range. . Band Stop is the opposite of Band Pass. while others apply to just certain filters. with one line showing frequency response (measured in dB) and the other displaying either phase (measured in degrees) or group delay (measured in milliseconds). Low Pass This setting passes the low frequencies while rejecting (or removing) high frequencies. Increase the graph’s display range by checking the Extended Range box.ADOBE AUDITION 159 User Guide Scientific Filter dialog The four most common types of higher order filters are available: Bessel. Butterworth is generally the best compromise between quality and desired precision. and Chebychev 2. Chebychev 1. High Pass This setting passes high frequencies and removes low frequencies. Each one has different characteristics for how steep the transition bands are (at the cutoff points). You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected. Each filter is visualized on the Scientific Filters graph. depending on whether the Phase or Delay option is selected.

(Lower values have steeper slopes. this serves as the lower frequency transition. this serves as the lower frequency. Since Adobe Audition’s Previews are dynamic. while Transition Bandwidth defines the lower frequency transition. .160 CHAPTER 8 Effects Menu – Edit View Cutoff This parameter defines the frequency serving as a border between passed and rejected frequencies. while Cutoff defines the lower frequency border. In filters requiring a range (Band Pass and Band Stop). High Width In filters requiring a range (Band Pass and Band Stop).) If you choose a transition bandwidth. Noise Reduction The effects in the Noise Reduction menu can be used to reduce background noise and general broadband noise without having an adverse effect on the overall quality of the originally-recorded signal. the Order will be filled in automatically. the more precise the filter (with steeper slopes at the cutoff points.). and vice-versa. this serves as the higher frequency. However. Order The higher the order. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. It is at this point that the filter will switch from passing to attenuating or vice versa. Stop Attn The Stop Band Attenuation control determines how much gain reduction is to be used when removing frequencies. this serves as the higher frequency transition. Transition Bandwidth Some filter types allow the specification of the width of the transition band. High Cutoff In filters requiring a range (Band Pass and Band Stop). the overall volume level might be too loud or too soft. etc. The selection is looped until you press the Stop button. In filters requiring a range (Band Pass and Band Stop). Presets Adobe Audition comes with several Scientific Filter presets. Preview Press the Preview button to audition the current Scientific Filter setting before you apply it to the waveform. while High Cutoff defines the high frequency border. Pass Ripple/Actual Ripple Some high-order filter types give you the ability to choose the maximum allowable amount of ripple. More information on presets can be found in the “Looking at the Work Area” chapter. while High Width defines the higher frequency transition. You can compensate for this by entering an overall master gain (measured in dB) for both the left and the right channels to be applied to the resulting audio. Ripple is the effect of unwanted boosting and cutting of frequencies near the cutoff point. Master Gain After the filter settings have been adjusted. very high orders can also have high levels of phase distortion.

and then replacing or repairing the damaged location (Correction). See the Spectral Display area of Options > Settings > Display to adjust these parameters. To speed up the repairing of single clicks. . Click/Pop Eliminator is the effect to use. or replacing the data with a straight line. Use the Spectral View feature with the spectral resolution set to 256 bands and a Window Width of 40% to see the clicks in a waveform. The F3 key then repeats the last action without bringing up the dialog box. You can also create a quick key in the Favorites menu for filling in single clicks. It’s more accurate than just cutting out the click. You can correct an entire selection or instantly remove a single click if one is highlighted.ADOBE AUDITION 161 User Guide Click/Pop Eliminator The Click/Pop Eliminator works by searching for anomalies in the audio data that could be construed as clicks or pops (Detection). Click/Pop Eliminator dialog Use a high zoom level to isolate the click. configure the F3 key to correct them when they are highlighted by first choosing the Click/Pop filter and pressing Fill Single Click Now. If you want to clean up vinyl recordings before transferring them to CDs or another digital medium. Clicks will ordinarily be visible as bright vertical bars that go all the way from the top to the bottom of the display.

. Use this button to automatically set the threshold levels. starting at the quietest regions and moving up to the loudest. (Detected levels found when using Auto-Find All Levels will always be higher than this value. Sensitivity Lower values entered here will find more subtle clicks. Go as low as 4 if there are constant clicks. Once you’ve auditioned a small piece of repaired audio. and Min (Minimum) Threshold level settings. running at least three passes will improve the output even more. Min Threshold of 10. Detect. color-coded curves for detection and rejection. or 5 to 40 on the rejection threshold. they usually don’t need to be adjusted much. If a loud piece still has clicks. and Reject values. There are separate. For example.162 CHAPTER 8 Effects Menu – Edit View To hear all the clicks that were removed. Discrimination Higher values that are input in this field will fix fewer clicks. Five areas of audio are checked.) After the Max Threshold and Min Threshold values have been set. you can go back and adjust the settings accordingly. Find Threshold Levels Only This function will automatically fill in the Max (Maximum). The loud. Adobe Audition will use values on the curve to the right (above -20dB or so) in processing louder audio. Each successive pass will be faster than the previous one. If you have the time. 50 for very little correction on the detection threshold. Avg (Average). Max Threshold of 30. lower the Avg or Max Threshold settings. you might try settings from 10 for a lot of correction. but will leave original audio alone more by not repairing clicks when there really aren’t any. Making adjustments to these will have the greatest effects.) Try a value of 10 for lots of subtle clicks to 20 to set levels for fixing a few louder clicks. before manually adjusting the Max Threshold and Min Threshold Detect and Reject values. Detection Graph This graph shows the exact threshold levels to be used at each amplitude. A setting of about 25 is best for high-quality work. then Mix Paste it (overlap it) over the corrected audio with a setting of 100% and Invert enabled. The next parameter that affects the output most is the Run Size. if a quiet part still has a lot of clicks. and quiet portions of the audio are handled differently based on the detection and rejection settings. lower the Min Thresholds value a bit. and settings towards the left in processing softer sections. and then about 25 for Avg Threshold. Use values of 20 to 40 if there are relatively few clicks in the audio. Auto Find All Levels Using the values input in the Sensitivity and Discrimination fields as guides. average. and determines values for all of the Threshold. because once they’re in place. It may take a little trial and error to find the right settings. The parameters that make the most difference in determining how many clicks are repaired are the Detection and Rejection thresholds (the latter of which requires Second Level Verification). enter a figure for the Avg Threshold level of about three quarters the way up between the Min Threshold and Max Threshold settings – for example. the Auto Find All Levels command scans the highlighted area for clicks. (It’s a good idea to settle on Max and Min settings first. with amplitude along the x-axis (left and right) and the threshold level along the y-axis (up and down). but the results are well worth it – much better than searching for and replacing each click individually. save a copy of the original file somewhere.

The rejection algorithm looks to see if this click is isolated (meaning it’s a real click) or has neighbors (meaning it’s probably part of a desired waveform). so quiet audio will tend to require lower detection and rejection threshold levels. 25 for average amplitudes. and minimum amplitude of the audio. Start with a threshold to 35 for high-amplitude audio (above -15dB). average. and minimum levels. the audio begins to sound flat and lifeless. Avg. If a particular sound or instrument is “fuzzing out” and getting distorted. Some waveforms have sharp. and Min Threshold There are three definable levels (Max. The idea is to reject as many detected clicks as possible. given in dB) for which you can specify unique detection and rejection threshold settings. assign appropriate Detect and Reject values to be used at each of the levels. if your audio has a maximum RMS amplitude of -10dB. Clicks are very noticeable in very quiet audio. average amplitude. try either increasing the threshold or enabling Second Level Verification. leave unfiltered) the ones that are less likely to be clicks. This value can be as low as 6.ADOBE AUDITION 163 User Guide Max. with possible values of 6 to 60. If you still hear clicks after filtering your audio. which will re-analyze the detected clicks and throw out (that is. this value (which can be from 1 to 100) determines how many potential clicks (found using the Detection Threshold) are rejected. try lowering this value to reject fewer potential clicks. These settings will find most clicks. but if this distorts the audio too much. then the filter may remove sounds that are not actually clicks. then you’d normally set the Max Threshold to -10dB. A good starting value for this setting is 30. the better. If a trumpet-like horn sound has clicks in it. the more repair processing there is. The more clicks that are detected. try lowering the detection threshold. Detect This threshold setting. less correction is required for louder audio. With too much distortion of this type. These levels are ordinarily set to the maximum amplitude. Increasing the rejection threshold will prevent more clicks from being repaired. Press the Find Threshold Levels Only button to fill in these levels automatically with the maximum. Once the threshold levels are in place. and often all of the louder clicks. If there’s a constant crackle in the background of your source audio. and 10 for lowamplitude audio (below -50dB). . as the audio itself will mask many of the clicks so that their repair is not necessary. then increase the rejection threshold to keep repairs at a minimum. If this happens. Generally. As with detection. lower settings result in more clicks being repaired. determines how sensitive the filter is in finding clicks and pops. spikes throughout. which increases the possibility of distortion. depending on the nature of the waveform in question. but still remove all audible clicks. If the minimum RMS amplitude was -55dB then Min Threshold would be set to -55. try lowering the Min Threshold level more. albeit periodic. Avg. For example. try setting the detection threshold rather low and clicking the Second Level Verification box. Reject If the Second Level Verification box is checked. and the clicks are not being removed. but if the setting is placed any lower. (The fewer repairs that are needed to get good results. Lower detection thresholds result in more clicks being found. or increasing the dB level to which the threshold is assigned.) Adobe Audition may interpret some valid audio as clicks. as they may not be actual valid clicks. Min.

Smooth Light Crackle This option will smooth out one-sample errors when detected. . See Rejection Threshold for more information. Correction Set the following correction options. on the other hand. When using multiple pass mode. Because this option slows down the restoration. If a click is found in one channel. and use settings from about 30 (which will find pops that are “kind of quiet”) to 70 or so (which will only find the very loudest pops). some of the peaks in the natural waveform may be detected as clicks. leave Smooth Light Crackle turned off. some valid clicks may not be repaired. female vocals. and not corrected after all. flatter. higher rejection thresholds may lead to better results. and snare drum hits. Multiple Pass Some clicks may be too close together to be repaired effectively. In the same vein. Link Channels If checked. and only use it if the clicks are very stubborn. If this option is checked. about half as many or fewer clicks are repaired on each successive pass. Should you find that obvious. saxophones. large unwanted events (such as those more than a few hundred samples wide) may not be interpreted as clicks by the normal detection algorithm. If this option is enabled. try increasing the threshold a bit until the obvious pops are fixed. If this makes the resulting audio sound thinner. then any number of passes (up to 32) will automatically be performed. audio from both channels is simultaneously analyzed for possible clicks. In some types of audio. or more tinny. Check this box if you want Adobe Audition to remove these large clicks as well. so going over the audio with another pass will often catch those clicks that weren’t found the first time around. With Second Level Verification enabled. then enable the Detect Big Pops option. then the onset of the drum is being considered a big pop and is being “repaired”. Try cleaning up audio without using this option first. these peaks will be rejected. and only use it for sections that are very troublesome. If this option is used. such as trumpets. Valid values are 30 to 200. will not be rejected. Generally. Pulse Train Verification Use this option if too many clicks were detected because of a periodic waveform (like trumpet waveform peaks being considered clicks). and can have the effect of removing more background crackle. If these peaks are corrected as clicks. Note that a sharp sound like a loud snare drum hit can have the same characteristic as a very large pop.164 CHAPTER 8 Effects Menu – Edit View Second Level Verification Check the Second Level Verification box to start rejecting some of the potential clicks that were found by Adobe Audition’s click detection algorithm. If this happens. the likelihood that a click will be detected in the other channel is increased. you should first try correcting the audio with this option turned off. loud pops are not being fixed. and drum hits sound softer. Adobe Audition will perform fewer passes if no more clicks are found and all detected clicks have been repaired. and increase the quality of the result somewhat while still removing all clicks. True clicks. a higher detection threshold may lead to fewer interventions in repairing. Detect Big Pops With some audio. so you should only enable this option if you know the audio has very large pops (like a recording from a record with a very big scratch in it). the resulting audio may sound muffled.

then a high FFT size (128 to 256) should work rather nicely. If you’re repairing clicks one at a time using the Fill Single Click Now button. there may be some extra unwanted low frequency distortion. then clicks that are very close together may not be repaired completely on the first pass. just press F3. audio will start to distort where the clicks were removed. settings of 128 to 256 work very well when filling in single clicks. but with potentially better results. the slower the correction will be. its beginning and end points are marked as closely as possible. This is the “manual override” for click restoration. If the clicks are still quite audible. However. and consider more samples to the left and right of the click as actually being part of the click. Fill Single Click Now You can correct a single click by highlighting it and pushing the Fill Single Click Now button. The higher the FFT Size. In general. then 64. to fill in another single click in highlighted audio. More information on presets can be found in the “Looking at the Work Area” chapter. Once a single click is filled. The Pop Oversamples value (which can go from 0 to 300) will expand that range. Adobe Audition’s click repair algorithm may not work well on two consecutive clicks that are extremely close together. Start with a value of 8. Previously Corrected/Rejected After repairing a click. This setting may remove clicks more cleanly. Increasing the Pop Oversamples value will also force larger FFT sizes to be used when the Auto box is checked. Presets Adobe Audition comes with several Click/Pop/Crackle Eliminator presets. and crackle. if the value is too high. try increasing the Pop Oversamples value. which sounds “rumbly”. and increase it slowly to as much as 30 or 40. Run Size Sets a ceiling on the potential distance between two clicks. etc. so this buffer area should remain mostly untouched by the replacement algorithm. So. If the Auto box is checked next to FFT Size. If you set the Run Size too small. the F3 (Repeat Last Command key) key will be set to repeat this action. . try increasing this value to 48. Pop Oversamples Is used to give the clicks a little extra buffer space when being repaired. pops. If the Run Size value is too large (over 100 or so) then the corrections may become more noticeable. A good starting point is an FFT Size of 32. re-enter the Click/Pop/Crackle Eliminator window to see the number of previously corrected clicks in the lower right hand corner of the dialog. If clicks aren't being corrected fully enough (for example. Audio that doesn’t contain a click shouldn’t change very much if it’s corrected. then an appropriate FFT size will be used for the restoration based on the size of the area being restored. if clicks become quieter but are still evident).ADOBE AUDITION 165 User Guide FFT Size Is the size of the FFT (Fast Fourier Transform) that will be used to repair the clicks. Otherwise. The Run Size setting (which can go from 0 to 1000) determines that any two clicks closer together than the number of samples specified in the Run Size box will be treated as one. you may wish to override the automatic setting and give a specific FFT size (from 8 to 512) to use for click repair when processing some types of audio. This area will also show the number of rejected clicks that would have been corrected if the Second Level Verification box was not enabled. A good starting point would be to set this value somewhere around 25 (or half the FFT size if you don’t have the Auto box next to FFT Size checked). but if set too high. However. as very large blocks of data are repaired at once. When a potential click is found. it’s a good idea to just let the program itself decide on good FFT size choices by checking the Auto box.

Clipping causes the signal to distort. the box(es) on the far right of the level meters will light up. measured in percentage. This can happen when your source recording levels are simply too high.” A value of 1% will allow the horizontal line to vary up to 1% away from maximum amplitude. If clipping occurs. 256 steps in 8-bit audio). while a value of 2 won’t fix a clipped sample if it’s not followed or preceded by another clipped sample. Overhead This is the amount of play there is. It does this by actually “filling in” the clipped segments of the waveform. specifies the amount to amplify the signal by before processing. Input Attenuation This parameter.166 CHAPTER 8 Effects Menu – Edit View Clip Restoration Adobe Audition’s Clip Restoration filter can remove the evil occurrences of clipping from your waveform. A value of zero will consider only perfectly horizontal line-type clipping to be “clipped. and appears in the waveform display as a “chopping-off ” of the top or bottom of the waveform. Minimum Run Size This value specifies the length of the shortest run of clipped samples to fix. which leads to a more thorough repair. because DC bias adjusted material modifies the clipped area and makes it unrecognizable as being clipped. Values of about 1% work best since they catch almost everything. . of course. measured in dB. The audible result is a static-like distortion.. Note: Don’t use DC Bias Adjust on any audio you wish to run the Clip Restoration filter on.e. for detecting clipped regions. Clip Restoration dialog Clipping is a phenomenon that occurs in digital audio when the amplitude value of a signal exceeds the maximum level that can be represented by the current bit resolution (i. A value of 1 will fix all samples that seem to be clipped. (You can do a DC adjust after de-clipping.) Note: You can monitor clipping occurrence during recording or playback by watching the level meters under the waveform display.

for example. too much bass.) However. as well as the percent of samples clipped based on that data. Adobe Audition uses spline curve estimation. When FFT Size is disabled. Using the FFT Size option in other situations may help with some types of clipping. but a Limit of about -0. measured in samples. you want to try and estimate the higher frequency signals in the clipped areas. In this case. If audio has a constant background hiss. Any audio in any frequency band louder than the cutoff level will remain untouched. if needed. 3 Run Hard Limiter with no Boost. if your audio is severely clipped due to. 4 Convert back to 16-bit. in general you can leave the FFT Size box unchecked. . Presets Adobe Audition comes with several Clip Restoration presets. It removes all audio in all frequencies that are below a certain threshold (which is generally the noise floor or hiss level). 2 Run Clip Restoration with no attenuation. record albums (after using Click/Pop Removal). Gather Statistics Now Pressing this button will fill in the Clipping Statistics fields with information for the current selection or file. (Try a setting of 40 for normal clipped audio. Clipping Statistics These fields show the minimum and maximum sample values found in the current selected regions. To restore clipped audio while retaining amplitude: 1 Convert the file to 32-bit for more precise editing.ADOBE AUDITION 167 User Guide FFT Size Set an FFT (Fast Fourier Transform) Size. More information on presets can be found in the “Looking at the Work Area” chapter. then that hiss can be “noise gated” or removed completely. Hiss Reduction Use Hiss Reduction to literally carve out annoying hiss from cassette recordings.2dB to bring the clipped audio back into normal range. or microphone recordings.

try Adobe Audition’s Noise Reduction effect. along the y-axis (up and down). choose an FFT (Fast Fourier Transform) Size first. Med (Medium). . with frequency along the x-axis (left and right) and amplitude. This information will be used to determine if audio is hiss or desirable audio data. To use Adobe Audition’s Hiss Reduction: 1 To use. choose how much to reduce hiss by. the line on the graph represents where the estimated noise floor exists for each frequency in the source audio. Thus.168 CHAPTER 8 Effects Menu – Edit View Hiss Reduction dialog To get rid of other types of noise. depending on the estimated noise level of the recording. process the entire area you want to remove hiss from. or Low. The actual value used when performing hiss reduction will be a combination of the graph and the Noise Floor Adjust slider. The Right option allows you to display the waveform’s right channel. 2 Then either reset the noise floor graph to Hi (High). which is used to shift the estimate noise floor reading up or down for fine tuning. Or. Graph Area The Hiss Reduction graph area depicts what the noise floor looks like. find a section relatively free of audio that contains mostly hiss and click Get Noise Floor. 3 Finally. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). and try a few times reducing hiss from a short sample with different noise floor modifier settings. or noise floor. see the “Looking at the Work Area” chapter. When you’re satisfied with the results. Viewing Left/Right Select the Left button to view the left channel of the waveform in the Hiss Reduction graph.

you may get a few milliseconds of hiss before and after the louder parts of audio. (See Spectral Decay Rate.. you may need to skew the graph on the left-hand side (representing the lower frequencies) downward some. If music was present at any frequency. you should click on Get Noise Floor with a section of just hiss highlighted in your waveform. you can simply reset the graph to an even level and manipulate the Noise Floor Adjust slider. Noise Floor Adjust Use this slider to specify the level of the noise floor. Values of 5 to 10 usually achieve good results. If no such area can be found in the waveform. reverb. Low) These three Reset buttons will clear the noise floor graph. FFT Size Specify a transform size. • Higher FFT sizes (12000 and above) may cause swooshing effects.) Usual settings range from 7 to 14. . general-purpose hiss reduction. After pressing a Reset button. Press Med to set the floor to -70dB (average hiss). the lower the noise floor will be (up to -40 db). In general. making things sound hollow or flanged. this is reduced. • Larger values generally produce better results. In many cases. produces a slow transition in hiss reduction instead of dropping off suddenly from no reduction to the reduced hiss level. Precision Factor This value determines the accuracy of hiss reduction in the time domain and affects how quickly spectral components below the previous hiss level decay. but at slower processing speeds. the area will not have any activity in the top 3/4ths of the display. If a good estimate of what the noise floor looks like (i. choose an area of audio that has the least amount of high frequency information. Reset (Hi.) After the noise floor has been identified. • Lower FFT sizes (2048 and below) will have better time response (less swooshing before cymbal hits for example) but poorer frequency resolution. and should be moved down. select an area with the least amount of music or other desired audio. a complete noise floor graph isn’t always necessary. • The more the slider moves to the left. Adobe Audition’s Hiss Reduction algorithm can more effectively remove just hiss while leaving regular audio untouched. or Low to set the floor to -90dB (if there isn’t much hiss at all). Values higher than 20 or so will not ordinarily improve quality any further.e. Med. fine tune the noise floor setting using the Noise Floor Adjust slider until the appropriate amount of hiss reduction and quality level is achieved. (If viewing in spectral view. measured in dB. but be very accurate in the frequencies processed. Transition Width This setting. with higher values. • With lower precision factors. Drag Points Enter the number of drag points (also known as control points) you want Get Noise Floor to add to the Hiss Reduction graph. so as to make the graph as flat as possible. • The more the slider moves to the right. Optimally. This will design a graph that most accurately reflects the noise floor. For best results. Press Hi to assume the noise floor is at 50dB (if hiss is very loud). how it’s shaped) is graphed. sizes from 3000 to 6000 work best. the dots on the graph around that frequency will be higher than they should be.ADOBE AUDITION 169 User Guide Get Noise Floor This is the most powerful feature of Hiss Reduction. the higher the noise floor will be (up to 40 db). and long drawn out background tones. For quick.

Remove Hiss/Keep Only Hiss: For normal operation. • If the Transition Width value is set too high. but the remaining audio may start to be distorted. Preview Press the Preview button to audition the current Hiss Reduction setting before you apply it to the waveform. . Since Adobe Audition’s Previews are dynamic. but the original audio signal stays relatively undisturbed. • With lower reduction amounts (below 6dB) not as much noise is removed. such as little “tinkles” in the background. With low Spectral Decay Rates (measured in percent).170 CHAPTER 8 Effects Menu – Edit View • If the Transition Width value is too small. It can also remove tape hiss. they are reduced up to this amount. • With higher levels (especially above 20dB) dramatic hiss reduction can be achieved. All the audio will be removed. or any noise that is constant throughout the duration of your waveform. If for some reason you want to extract the hiss only. • With Spectral Decay Rates too low. and music may start to sound artificial. The selection is looped until you press the Stop button. some hiss may remain after processing. more audio in the same frequency band is assumed to follow. Reduce Hiss By When audio components are found below the given noise floor settings. 60 cycle hum. unnaturally long tails and reverbs might be added. microphone background noise. Values of 40% to 75% work best. Spectral Decay Rate When audio above the noise floor is encountered. Presets Adobe Audition comes with several Hiss Reduction presets. measured in dB. and the carving function will cut more closely in time to the frequencies being kept. More information on presets can be found in the “Looking at the Work Area” chapter. background bubbly effects might be heard. other background artifacts may be heard. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. less audio is assumed to follow. choose Remove Hiss. • With Spectral Decay Rates too high (above 90%). Noise Reduction Adobe Audition’s Noise Reduction function can dramatically reduce background and general broadband noise with a minimal reduction in signal quality. choose Keep Only Hiss. leaving only hiss.

you must load or get a noise profile first. In general. You can load any . Note: If hiss is what you want to remove. and the allowable loss in the quality of the signal that is to be kept. try Adobe Audition’s Hiss Reduction effect instead.ADOBE AUDITION 171 User Guide Noise Reduction dialog The amount of reduction required depends upon the type of background noise. Noise Profile Plot The yellow points in the profile plot represent the amount of noise reduction that will be performed at any particular frequency. This is done by pressing the Load Profile or Get Profile from Selection buttons. you should be able to attain increases in Signal to Noise ratios of 5dB to 20dB. The amount of noise reduction is always the same for both channels. (Noise is reduced 21dB and signal 1dB for example). Move the Noise Reduction Level slider up or down to move the entire yellow region up or down. Load Profile Press this button to load any previously saved noise profile.fft file that Adobe Audition has saved. edit the channels individually instead of both channels at once. Before you can perform noise reduction. View Left/Right Click to view either the left channel noise profile or the right channel noise profile. To perform separate levels of reduction on each channel. .

Snapshots in profile The number in this field describes how many snapshots of noise to take in the highlighted interval when the Get Profile from Selection button is pressed. However. Try to select a portion of the waveform that has no important signal in it (i. You can then perform as many Undos as necessary to remove the extra samples you’ve pasted. then the Get Profile from Selection button won’t be enabled. a low noise reduction level with more samples will also cut out more noise. or alternatively. if you need noise reduction only in the higher frequencies. Log Scale You can view the chart of the noise profile in either linear or logarithmic fashion. Reduce the FFT Size or select a larger section of noise to sample. then the amount of noise reduction used is based on the noise profile exactly. one for the highest amount. In other words. A value of 64 is usually sufficient. Reduction Graph Use the Reduction Graph to set the amount of noise reduction at certain frequency ranges. and three sets of FFT coefficients: one for the lowest amount of noise found. The larger this number. The graph depicts frequency along the x-axis (left and right) and the amount of noise reduction (in percent) along the y-axis (up and down). use Copy and Paste to create one. the more accurate the statistical data is. a profile for one type of noise is likely to not produce good results when used for another type of noise.e. you can save the noise profile as an .fft file. The readout below the graph displays the frequency and adjustment percentage at the current position of your mouse. Adobe Audition will gather the statistical information about the background noise. Highlight and copy the short noise sample. Note: If the selection used for gathering the noise level is too small.. even if the sample types are compatible. that because noise profiles are so specific to the recording environment of the waveform in question. but likely will not disrupt the intended signal. Then. For example. paste this new instance at the end of original highlighted sample. Even if the audio samples were recorded with the same microphone. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). the type of background noise could be different. however. after which you can remove all noise of this type from your waveform. Repeat this process until the sample has been extended long enough for the Get Profile from Selection button to be enabled. This file will contain information on sample type. FFT (Fast Fourier Transform) size. and one for the power average.172 CHAPTER 8 Effects Menu – Edit View Note: A noise profile can only be used on a sample of the same type as when saved. if the recording environment is different. Get Profile from Selection Press this button to extract a noise profile from the highlighted selection. more reduction in the higher frequencies. adjust the chart to give less noise reduction in the low frequencies. a noise reduction level of 100 will likely cut out more noise. With more samples. If you can’t find a longer noise section. and then press Get Profile from Selection. • Check Log Scale to divide the graph evenly into 10 octaves. see the “Looking at the Work Area” chapter. but also cut out more original signal as well. You’ll notice that using very small numbers of statistical samples will greatly affect the quality of the various noise reduction levels. it only has background noise). Save Profile Once the noise level is set. . Bear in mind. If the line is set to Flat (which is accomplished by pressing the Flat button). a 44K stereo 8-bit sample is not compatible with a 22 kHz mono 16-bit profile.

Beyond 10 or so. with each 1000kHz (for example) taking up the same amount of horizontal width. with too many bands. • Reduce by: Lowering this value (measured in dB) may help reduce some bubbly background effects. Noise Reduction Settings Set the following options: • FFT Size: This parameter causes the most drastic changes in quality. or variance. the noise profile plot updates as control points are moved around on the graph. there can be a drop or spike in volume at the interval between blocks. which can make the result sound reverberant or “echoey” (with pre. time slurring occurs. Bands that vary greatly when analyzed (such as white noise) will be smoothed differently than constant bands (like a 60 cycle hum). the FFT is performed in giant blocks that aren’t very continuous between the blocks. • Smoothing Amount: This takes into account the standard deviation. You may also enter the desired amount directly in the text box to the right of the slider.and post-echoes). Generally. choose Keep Only Noise. increasing the smoothing amount (up to 2 or so) will reduce the “burbly” background artifacts at the expense of raising the overall background broadband noise level. Values of 5 and up work best. the finer frequency detail you get in removing noise. if there’s a 120Hz hum. frequencies from 80Hz on up to 160Hz may be affected. time resolution. Settings between 5dB and 100dB are recommended. Noise Reduction Level Use this slider to manually adjust the amount of noise reduction (measured in percent) to be applied to the waveform or selection. • Remove Noise/Keep Only Noise: For normal operation. The noise in each frequency band is treated separately. If this happens undo the effect and try a lower setting. . with lower FFT sizes giving better time resolution and higher FFT sizes giving better frequency resolution. choose Remove Noise. leaving only noise. With values of 3 or less. Good settings for FFT Size range from 4096 to 12000. so the actual noise can be detected and removed with more precision. With more bands. All the audio will be removed. • Precision Factor: This value affects distortions in amplitude. there is no noticeable change in quality-only in the time it takes to compute. However. So the tradeoff is frequency resolution vs.ADOBE AUDITION 173 User Guide • Uncheck Log Scale to divide the graph linearly. high noise reduction levels can sometimes cause the remaining audio to have a “flange-y” or “phase-y” quality. If for some reason you want to extract the noise for other purposes. For example. Note: Depending on the original waveform and the type of noise removed. • With Live Update unchecked. the profile plot is only updated when a control point is placed in its new location. of the noise signal at each band. so the more bands you have. Try using 5 or 7. Live Update Select or deselect this option: • When you check this option. This means that after each block is processed. It determines the number of individual frequency bands that are analyzed. there’s less spacing between bands. but not many frequency bands. as odd numbers are best for symmetric properties.

with a transition width of 10dB. Here’s the most common way to use Adobe Audition’s Noise Reduction function: 1 Record or open a piece of music that has tape hiss or other background noise. For example. a -10dB width would have ranged from -60dB to -50dB. and a cutoff point (scanned noise level for the particular band) of -60dB. it’s completely safe to do without any ill side effects. Centering the wave adjusts the DC offset to zero. if it’s just below. you can specify a range over which the audio will fade to silence based upon the input level. thereby creating a rather wild effect. You’ll get better results with Noise Reduction if the original signal is centered. within a vocal line. You can get much better results by converting to 16 bits first. if the width is zero. For instance. To center a signal. Preview Press the Preview button to audition the current Noise Reduction setting before you apply it to the waveform. while audio just above it would remain untouched. and so on until audio at -70dB would be removed entirely. 3 Choose the Effects > Noise Reduction > Noise Reduction option and click on Get Profile from Selection to sample the noise. For example. Negative widths simply go about the other side. Great effects can be generated by setting the noise level to some valid signal component in the waveform. Again. Whatever frequencies are present in the highlighted selection when Set Noise Level is chosen will be removed when the reduction level is set to 100. a sharp. then audio at -60dB would stay the same. you can select the vowel “O” to be used as the profile. Note: Noise reduction works best on 16-bit and 32-bit samples. with a Transition Width of zero. Since Adobe Audition’s Previews are dynamic. Conversely. The selection is looped until you press the Stop button. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. highlight it and choose the Center Wave preset from the Effects > Amplitude > Amplify function. Although it will work with 8-bit audio. Because centering takes out all frequencies below about 16Hz. You can reduce the noise incurred by the sound board's circuitry during recording--just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence in order to further reduce the noise level by up to 10dB. Noise at -45dB is very audible. it stays. as owners of 8-bit sound cards can attest. 4 Click on Close. . If the audio in the band is just above the threshold. it’s impossible to get the noise level to less than about -45dB – if even that. reducing the noise. it’s truncated to silence. and not the background noise. then audio just below -60dB is entirely removed. at -62dB it would be reduced some (to about -64dB). You can generate interesting effects by choosing valid “foreground” audio as your profile “footprint” rather than background noise or hiss. 2 Select a short range (at least one half second) that contains only the noise that you'd like to reduce. If the wave isn’t centered. you may hear audible clicking in quiet parts after processing.174 CHAPTER 8 Effects Menu – Edit View • Transition Width: This setting determines how sharp the division is between what is considered noise and what should be kept. noise gate-type curve is applied to each frequency band. than by reducing noise in 8-bit samples directly. so in the above example. and downsampling back to 8 bits. it’s best to process a copy of the original file) will then reduce or eliminate the “O” sounds. Processing this vocal file (remember.

any filtered version of a waveform can be echoed at any delay. In a sense. . or by copying audio directly from a waveform. That is. phase shifting. any number of times. this feature uses one waveform to “model” the sound of another waveform. “convolving” someone saying “Hey” with a drum track (short full spectrum sounds such as snares work best) will result in the drums saying “Hey” each time they are hit. echoing. 7 Click on OK to perform the noise reduction. 6 Go to Effects > Noise Reduction >Noise Reduction again. You can build impulses from scratch by specifying how to filter the audio and the delay at which it should be echoed. The result can be that of filtering. Convolution dialog For example. Convolution Convolution is the effect of multiplying every sample in one wave or impulse by the samples that are contained within another waveform. Have fun and experiment. Special The options in this menu can be used to introduce some processing effects that are both innovative and wild-n-wacky. or any combination of these effects.ADOBE AUDITION 175 User Guide 5 Select the entire file (or the portion you want to noise-reduce).

then convolution with it will sound as if the listener were in the exact position of the recording equipment. Lower this value to increase the amplitude of the impulse. • Save saves an impulse for later recall. if an impulse was created at 44100Hz. and each echo at half the volume of the previous echo. Highlighted Selection Any audio can be added to an impulse directly. Create Custom Impulse Use these options to create new impulses. Note: An “impulse” is the data by which every other sample in your waveform will be multiplied. You can find them in the /IMPS folder inside of the folder where you have installed Adobe Audition. • Mono/Stereo: Mono impulses work with either mono or stereo data (the left and right channels will be convoluted with the same impulse).) The sample rate of an impulse will affect the outcome of convolution. and generating a loud impulsive noise. For example. and convolute it with any mono audio (left and right channels the same) then the result would sound as if that audio were played in that cathedral. For example. The Left and Right volume percentages will be the resulting volume of the dry signal in the left and right channels. any reverberant space can be simulated. • Load: Press this button to load a previously saved impulse (such as the ones that come with Adobe Audition. or on the Adobe Audition CD. then the original audio data will be reproduced at half volume. • Clear clears the impulse completely. and reloaded and used on a 22050Hz file. Another interesting use for convolution is to generate an infinite sustained sound of anything. standing in the spot where you would like the audio to appear it is coming from. You can make a stereo recording of this “click” from any location within the cathedral. By default. and half as loud as the previous tick.imp) that come with Adobe Audition. simply add a full spectrum echo at 0 milliseconds. if you have an impulse of your favorite cathedral. and all delays will be twice as long. then everything will be stretched out 2:1. Stereo impulses convolute the left and right channels separately. Bandpassed Echoes Use these options to add echo at any frequency to the impulse. The scaling factor to use when adding a highlighted selection to an impulse determines its volume. . If the impulse is a single sample of a full volume “tick”. If there are several ticks.176 CHAPTER 8 Effects Menu – Edit View With the proper impulses. then the result of convolution with some audio will be that sound echoed with 100ms between each echo. Adobe Audition automatically estimates a good starting value for you. load up and play with some of the sample Impulse files (. For example. If that “tick” is at half volume. To get a feel for Convolution. like a “snap” or loud “click”. All filtered echoes will be at half the frequency. such as one tick every 100 milliseconds. If you used this recording as an impulse. You can generate an impulse like this by going to the cathedral in question. one singing “aaaaaah” for one second could be turned into thousands of people singing “aaaaaah” for any length of time by using some dynamically expanded white noise. and the audio being convoluted were at the location of the “click”. Note: To send any portion of unprocessed “dry” signal back out. then the convolution of that impulse with any audio data will just be that audio data itself. descending in amplitude over time.

>> button. • Add Sel: This setting adds the currently highlighted selection to the impulse at the delay and left/right volumes specified. at -100% instead of 100%). to echo just the range from 500Hz to 1000Hz. . and the opposite Left and Right percentages (e. • Shift: This value is generally set to one-half the FIR Size when building impulses from scratch. • Volume: If the convoluted audio comes out too soft or too loud. and the Delay at which the tick should appear. the echo may contain more frequencies than you want. You can add as many echoes as you like. • Delay: This parameter sets the amount (in milliseconds) by which samples are delayed. Adjust this shift setting if you find that the convoluted audio is migrating too far to the right with respect to the original audio. as they are just single sample ticks in the impulse. this is the upper cutoff frequency of the echo. • Add Echo: Pressing this button will add the bandpassed echo to the impulse at the delay and left/right volumes specified. add a full spectrum echo (e.g. Note: You can make any audio data part of an impulse by first highlighting the audio and then using the Add Sel. For pre-echoes. to echo just the range from 500Hz to 1000Hz. • Left : This setting specifies the left volume (in percent) at which to make the echo or selection being added to the impulse. enter 500Hz for the minimum value. then add another echo at the same delay. Maximum=22050Hz) at a larger delay (like 1000ms). you should first scale down any such selection to a lower volume. you can add filtered versions of echoes by entering the minimum and maximum frequencies to echo. You can add as many selections of actual audio as you like. For example. place at least one echo that is full spectrum (Minimum=0Hz. For example. To echo all frequencies outside the range. Note: To add a tick at any volume. Add to Impulse These settings let you add features to impulses. Ordinarily. from 0Hz to 22050Hz) at a specific delay. otherwise the convolution will come out extremely loud. Then any echo placed before 1000ms will be a pre-echo. Besides just echoes. • Maximum: When adding bandpassed echoes. You can ignore this delay for full spectrum echoes. enter 1000Hz for the maximum value. to compensate for the delay incurred when the minimum delay used was only one-half the FIR size. Note: Adobe Audition recommends a minimum delay (below the FIR entry box) when you add this echo. • FIR Size: This parameter sets the size of the FIR filter to use to generate the filtered echo. If you use a smaller delay than that suggested. Global Settings These settings effect how the given impulse will be used during convolution. • Right: This setting specifies the right volume (in percent) at which to make the echo or selection being added to the impulse. enter an appropriate value to amplify or attenuate the audio. This will cause an echo of the specified volume to occur at the given delay after convolution. enter the volume percentages after the Left and Right settings.ADOBE AUDITION 177 User Guide • Minimum: When adding bandpassed echoes. this is the lower cutoff frequency of the echo. but with different minimum and maximum values.g.

• Left: Select this button to enable display of the impulse for the left channel only. Since Adobe Audition’s Previews are dynamic. If the Symmetric box is checked. really bad! (Of course. Have fun making your audio sound really. • Normalized View: If this option is checked. • View: Both Selecting this button enables display of the impulse for both the right and left channels. • Right: Click this button to enable display of the impulse for the right channel only. a muffled microphone. Select the tab corresponding to the distortion curve you want to display. these tabs become inactive (and are marked Symmetric). the impulse’s amplitude is displayed so that it exactly fits in the display vertically. The selection is looped until you press the Stop button. . Distortion Use this function to create effects such as a blown car speaker. Preview Press the Preview button to audition the current Convolution setting before you apply it to the waveform.) Distortion dialog Positive/Negative Tabs You can specify separate distortion curves for positive and negative sample values.178 CHAPTER 8 Effects Menu – Edit View View Settings These settings affect the impulse display. and an overdriven amp. it’s great for adding fuzz to guitar licks to get that “authentic” heavy metal sound. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played.

since every input value goes to the exact matching output value. uncheck Symmetric and choose the appropriate tab. Preview Press the Preview button to audition the current Distortion setting before you apply it to the waveform. More information on presets can be found in the “Looking at the Work Area” chapter. Since Adobe Audition’s Previews are dynamic. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). The readout below the graph displays the current input and output sample values that are under your mouse pointer. best fit curve instead of a straight line between control points on the graph. While this function is far from a complete MIDI authoring studio. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. see the “Looking at the Work Area” chapter. Distortion Graph This graph depicts the input sample value in dB along the x-axis (left and right) and the output sample value in dB along the y-axis (up and down). Spline Curves Check this option to generate a smoother. A line that flows directly from the lower-left to the upper-right (which is the default) depicts a signal that’s been left untouched. the points control the shape of this curve. Music Adobe Audition’s Music function can use any highlighted selection as a “voice” to synthesize music or harmonize a wave using a particular chord. Symmetric If Symmetric is checked. rather. Presets Adobe Audition comes with several Distortion presets. it provides a quick and simple way to put a sample to music. The selection is looped until you press the Stop button.ADOBE AUDITION 179 User Guide Copy from Positive Press the Copy from Positive button (available in the Negative tab) to copy the positive curve to the Negative window. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). The more control points there are clustered together. Adjusting the shape of this line will adjust the input to output assignments. . To specify separate Positive and Negative curves. click to create more control points near the point in question. the positive and negative curves are identical. To get the curve closer to a control point. the line won’t ordinarily travel directly through the control points. When you use Spline Curves. the closer the spline curve will be to those points.

To sharpen or flatten a note. To remove a note.INI in your Adobe Audition data folder. Use the horizontal scroll bar to work on individual portions of the song at a time. You can choose to make a chord out of 2. The actual song data is saved in the file SONGS. pick up the chord object (the 3 notes on top of each other) from the Notes area and drop it on a note above. Adobe Audition will use the data on the clipboard. 3. The note location (A. give it a name in the Song Title box. Song Title If you wish to keep a sequence of notes you’ve created. If no range is selected.180 CHAPTER 8 Effects Menu – Edit View Music dialog Before you bring up the Music dialog. If you want to clear a sharp. or 4 voices. You can choose previously saved songs from the drop-down list of song titles you’ve created. New Song Press this button to clear the current song/note sequence. and place them here. flat. Thus. You can move notes up or down after they have been placed. use the faded looking quarter-note object. . or chord from a note. Then. and drop it on the note you wish to bring back to normal. E-flat) will determine the playback pitch for your sample. Chord Type Use the chord selection drop own list to determine the minor or major chord type and voicing you would like to use when entering a chord. you must first highlight the range of the current waveform you wish to use as a quarter note. and the other notes will automatically appear above it in the right ratios. Notes Simply drag the notes and rests you desire to the staff. drag the sharp or flat symbol on top of the note you wish to transpose. The note you drop it on will be the starting note of the chord. Staff Drag notes from the Notes area. pick it up and drop it off away from the bar. and then choose the chord type from the list. or pick them up to insert in a new position. Keep in mind that the clipboard data will be filled with your sample automatically once music is generated. selecting music a second time will automatically use your last sample. You can scroll to write a piece as long as 256 notes.

then go into the Music dialog and press Listen. Choose the desired instrument by typing its MIDI instrument number in the box to the right. Constant Duration When you check the Constant Duration box. Choosing “C” plays the notes at normal transposition. Doppler Shifter Use Adobe Audition’s Doppler Shifter effect to create the “fly by” sounds that are most familiar from cars racing by or airplanes flying overhead. You can record music played by the Listen preview button. your sample’s original frequency will be played at A (above middle C). The operation that does this takes longer to calculate. Time/Pitch The effects in this menu to are used to alter the time (duration) and pitch (tonality) of an audio file or selected range. hit Cancel. The key of C is the default. When the song is done. and continues on to the end of the song. Tempo The tempo is given in quarter notes (beats) per minute. Let’s use a car for our example. regardless of pitch. for example). Exact Tune Check the Exact Tune box to tune your sample so that when played at A (above middle C). but high-pitched notes will be the same length as lower pitched notes. and then press Adobe Audition’s Stop control to terminate recording. Important: Make sure your sound card’s mixer is set correctly for recording the MIDI channel. Key Choose a key for your song from the Key drop-down list. If the Exact Tune box isn’t checked. Octave This drop-down list lets you transpose the sequence by octaves. Play begins at the leftmost note visible on the staff (which means play begins at the position you are scrolled to). all notes will be the same length as the original sample. Your sample’s length is the length of a quarter note. then the notes will overlap. If your note is longer than the period determined by the tempo. The music is played through channels 1 and 13 for Extended and Base level compatibility. If the Constant Duration box isn’t checked. the frequency of your sample is at 440Hz. resulting in higher pitches being shorter than lower pitches. Simply start Adobe Audition’s recording process. Only standard major key signatures are listed. . so for a minor key simply choose the relative major (B flat for C# minor. you can listen to a preview of your sequence before actually applying it. the note is created by directly stretching or compressing the original sample.ADOBE AUDITION 181 User Guide Listen If you have MIDI playback capabilities.

. Straight Line Options Set the following: • Starting Distance Away: This value. Instead. • Select the Circular option to visualize the effect’s path as a circle on the graph in the right section of the Doppler Shifter window. The first crest leaves the car. When the car is coming towards you. the Doppler Shifter graph is non-interactive. you’ll get a different set of options. is the virtual starting point of the effect. measured in meters. reducing the wavelength of the sound and raising its frequency. and lowers as it races past you.182 CHAPTER 8 Effects Menu – Edit View Doppler Shifter dialog The frequency of the noise from the car starts out at a high pitch and tempo. Note: Unlike many of the graphs in Adobe Audition’s effects. and the waves are stretched out. the car itself has moved forward. resulting in a lower-pitched sound. the noise it’s making sounds like it’s a higher frequency because each wave crest as it comes towards you is actually compressed by the car itself moving forward. you can’t directly manipulate the items on the graph using your mouse. the graph simply displays what the Doppler effect will “look like” as you make adjustments to the effect’s parameters. The opposite happens as it passes by you. and by the time the next one leaves. Path Type Select one of the following: • Select the Straight Line option to have effect’s path visualized as a straight line on the graph in the right section of the Doppler Shifter window. Depending on the path type you chose.

which is measured in meters. Since Adobe Audition’s Previews are dynamic. sets the circular dimensions of the effect. Adjust Volume based on Direction Check this box to have the volume of the effect automatically adjusted based up the virtual direction values you’ve entered. measured in meters per second. • Velocity: The value entered here is the virtual speed at which the effect moves. specifies the beginning virtual angle of the effect. The lower quality levels will take less time to process. The selection is looped until you press the Stop button. Presets Adobe Audition comes with several Doppler Shifter presets. • Passes on right by: Specify the number of meters you want to the effect to pass by the right of the listener’s perspective by. the volume of the effect is automatically adjusted based upon the virtual distance values that have been specified. . • Passes in front by: Specify the number of meters you want to the effect to “pass in front” of the listener by. • Center on right by: Specify the number of meters where you want the effect to center on the right of the listener’s perspective. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Pitch Bender This effect varies the pitch of the source audio over time. Adjust Volume based on Distance With this box checked. Quality Level This drop-down list lets you select from six different levels of processing quality. but the higher quality levels should produce more pleasing-sounding results. Preview Press the Preview button to audition the current Doppler Shifter setting before you apply it to the waveform. measured in meters per second. More information on presets can be found in the “Looking at the Work Area” chapter. such as that of a record or a tape speeding up or slowing down.ADOBE AUDITION 183 User Guide • Velocity: The value entered here is the virtual speed at which the effect moves. • Center in front by: Enter the number of meters where you want to the effect to center in front of the listener. Use the graph to “draw” your tempo to create smooth tempo changes or effects. • Starting Angle: This value. • Coming From: Enter the virtual direction (measured in degrees) that the effect is coming from. Circular Options Set the following: • Radius: This value. measured in degrees.

Pressing this button will set the endpoints to no pitch shift.184 CHAPTER 8 Effects Menu – Edit View Pitch Bender dialog Pitch Graph Use the graph to draw your tempo change over time. depending on the Range button pushed. Zero Ends If you’re pitch bending the middle of a selection. the closer the spline curve will be to those points. When you use Spline Curves. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). while the y-axis (right vertical border) represents pitch. rather. measured in semitones or beats-per-minute. see the “Looking at the Work Area” chapter. click to create more control points near the point in question. Spline Check the Spline box to generate a smoother. Note: For more information about Adobe Audition’s graph controls (such as how to add and remove control points). To get the curve closer to a control point. Higher points on the curve speed up the sound. . The more control points there are clustered together. The x-axis (lower horizontal border) of the graph represents the sound file or highlighted section’s time duration. while lower points slow it down. the line will not ordinarily travel directly through the control points. it’s good to have the endpoints be at the same rate as the surrounding audio. the points control the shape of this curve. with all points being set to no pitch bending. best fit curve instead of a straight line between control points on the graph. Flat Press this button to reset the graph.

this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. while in beats-per-minute format. Pitch and tempo may also be varied over the length of the audio. and the final stretching percent. Preview Press the Preview button to audition the current Pitch Bender setting before you apply it to the waveform. but this isn’t required.bmp “File not found. The number of semitones to shift up or down can be entered. Presets Adobe Audition comes with several Pitch Bender presets. The lower quality levels have more unwanted harmonic distortion. giving the effect of slowing down and speeding up.”>> Stretch dialog Constant Stretch/Gliding Stretch Tabs To perform a constant stretch (no variation in the amount of stretch) on the entire selection. select the Constant Stretch tab. you can use Stretch to transpose a song to a higher key.In semitones format. Each format will give a different rate of pitch change for a perfect diagonal line on the graph. you can choose the initial stretching percent (less than 100% will compress the wave). sliders for both initial and final settings will be available. but will take longer to process. it’s easy to make very long files depending on how large a Range is selected. <<Screenshot: TP-Stretch. Initial/Final Sliders Adjust the desired slider to set the amount of stretch to be applied to the waveform. choose the Gliding Stretch tab. . You may specify the exact tempo of your piece to change to different rates. The range can be set as semitones (there are 12 semitones to an octave) or as beats-per-minute. If you’re using Gliding Stretch. Stretch The Stretch effect changes the pitch (frequency) and/or tempo (duration) of the audio signal. Keep in mind that when going down in pitch. Usually you won’t notice any ill effects from harmonic distortion of the signal when using levels from Very Good on up. The higher quality levels will sound best. but the higher quality levels will reduce the distortion effects tremendously when shifting the pitch down. the pitch changes logarithmically up and down.ADOBE AUDITION 185 User Guide Quality Level Use this drop-down list to select the desired quality level. More information on presets can be found in the “Looking at the Work Area” chapter. It can also change either pitch or tempo without affecting the other. The selection is looped until you press the Stop button. but will process more quickly. Since Adobe Audition’s Previews are dynamic. Specifying separate values for start and end stretches the waveform in a linear fashion from one ratio to another. Range This sets the vertical scale of the graph (the y-axis). Aliasing will still occur however when pitch shifting up. a range as well as the base tempo needs to be entered. For example. the pitch changes up and down linearly. If doing beats-per-minute. or to slow a passage down without changing the pitch. Length Report At the bottom of the Pitch Bender dialog is a report of what the new length of the file will be. To vary the stretch from one level to another. With Gliding Stretch. Changes in the sliders are reflected in each of the Ratio and Length boxes. or raising and lowering pitch.

A quick way to determine the quality factor to use is to process a small portion at the lowest setting and the move up the scale until you’ve achieved the best balance of quality vs. Higher percentages increase the tempo when you choose Time Stretch (preserves pitch). both the pitch and tempo settings are affected. and High Precision. the degree of precision that an audio file should be processed with is often balanced against the time that it takes to process that file. This will take longer. Transpose Use this drop-down list to select musical transposition amounts. while not affecting the original playback speed. If using percentages above 100. When preserving pitch or tempo. while at the same time the pitch will lower. but keep the pitch the same throughout. Note: This is the setting you’d use for making a voice sound deeper or higher. However. Try using differing initial and final percentages to raise and lower the pitch without affecting the tempo. If the initial and final lengths are different. Precision Three options for precision (overall faithfulness to the sound’s quality) are provided: Low Precision. lower splicing frequencies may add stutter or echo. the more precise the placement of stretched audio is over time. but the results can be worth it. If the frequency is too high. while the tempo or speed of play remains the same. Lower percentages increase the pitch when you chose Pitch Shift (preserves tempo). Entering one automatically changes the other. The corresponding numerical values are entered into the stretch sliders automatically. Pitch and Time settings Set the following options: • Splicing Frequency: This setting determines the size of the chunk of audio data used when preserving pitch or tempo while elongating or truncating a waveform. 8-bit or low-quality audio files can be processed in a short amount of time using the Low Precision setting. Higher percentages lower the pitch when Pitch Shift (preserves tempo) is selected. the tempo will speed up and the pitch will increase.186 CHAPTER 8 Effects Menu – Edit View Ratio/Length Boxes You can enter a desired Ratio (in percentage) or final Length (in time) for the stretch. . •Resample: When you use this setting. Medium Precision. then the actual final length will be exactly (initial+final)/ 2 when in Preserve Pitch mode. The higher the value. At higher precision. For example. the tradeoff to having a precision factor that’s set too high is that it uses up a great deal of processing power (and thus time). For percentages of 99 or lower. Note: This is the setting a radio or TV production person would use in the process of making a 33 or 28 second commercial exactly 30 seconds. processing time. whereas a professionally-recorded audio file may require stretching using the High Precision algorithm. to transpose your sound up one semi-tone (one half-step on a keyboard) choose 1# for one sharp. As you might expect. the tempo will slow. artifacts are more noticeable as rates go up. Stretching Mode Three Stretching Mode options are provided: • Time Stretch (preserves pitch): Select this option to make the tempo or play speed shorter or longer. • Pitch Shift (preserves tempo): This setting raises or lowers pitch. it may sound “tinny” or like talking through a tunnel. Lower percentages slow down the tempo when Time Stretch (preserves pitch) is selected.

Preview Press the Preview button to audition the current Stretch setting before you apply it to the waveform. • Overlapping: When stretching or compressing.9Hz as the Splicing Frequency will greatly improve the quality by reducing phase artifacts. This setting determines how much the current chunk will overlap with the previous and next ones. but you should only go this high for really high speed increases (like 200% or more).ADOBE AUDITION 187 User Guide If the low precision mode is used. . the Splicing Frequency doesn’t matter as much. Since Adobe Audition’s Previews are dynamic. check this box to have Adobe Audition automatically select good default values for the Splicing Frequency and Overlapping settings. if the tone was reported to be 438Hz. For non-tonal or noisy samples. this gives you the opportunity to make and hear processing adjustments as the selection is continuously played. Refresh Effects List Select this item to scan your system for new Adobe Audition effects and DirectX plug-ins.9Hz. you can lower the overlapping percentage. adjust the overlapping value to strike a balance between choppiness and chorusing. For example. doing so may produce a “choppy” sound. The selection is looped until you press the Stop button. • Choose Appropriate Defaults: When preserving pitch or tempo. Overlapping can be as high as about 400%. More information on presets can be found in the “Looking at the Work Area” chapter. “chunks” of audio are overlapped with previously transformed chunks. dividing by 20 gives 21. then divide by an integer to get the Splicing Frequency. If so. you can improve the quality of stretched mono-tonal (pure tone) samples by choosing a Splicing Frequency that’s evenly divisible into the frequency of the sample. Use the Frequency Analysis window to find the sample’s base frequency. using 21. However. Thus. Presets Adobe Audition comes with several Stretch presets. If you find you’re getting a chorus effect when stretching.

188 CHAPTER 8 Effects Menu – Edit View .

To “silence out” a highlighted selection. Adobe Audition’s DTMF Signals function can generate MF tones as well. Silence will replace any selected area. thereby lengthening the waveform’s duration. just enter the desired amount of silence you wish to generate (measured in seconds) and press the OK button. use Effects > Silence instead. Any following audio is pushed back in time.189 Chapter 9: Generate Menu – Edit View T he Generate menu displays all the options that relate to waveform generation when you’re in the Edit View mode. entering . For instance.3 in the Silence Time field will generate exactly threetenths of a second of silence. To use. “touch tones”) used for dialing telephone numbers over phone lines that are capable of responding to touch tone signals. These signals are recommended internationally by the International Telegraph and Telephone Consultative Committee as the signals for pushbutton telephones.k.a. . Feel free to use decimals for partial seconds. Silence This function generates a specified amount of silence (entered in seconds) from the current playbar cursor position. Generate DTMF Signals dialog Keep in mind that the DTMF signals generated by telephone pushbutton keypads are different from the Multi-Frequency (MF) tones generated by the telephone network to transmit information. DTMF Signals This function generates Dual Tone Multi-Frequency (DTMF) signals (a.

1100Hz. as well as extra digits “a”. including the dial string. To see how effective these tones are. 1477Hz. “b”. this is where you enter the length of the pause. Custom This feature allows you to specify the combinations of frequencies to be used in generating signals. and 1700Hz. Enter a value (measured in dB) in the Twist field to increase the volume of the higher frequency tone accordingly. The standard time for DTMF tones is 100ms.190 CHAPTER 9 Generate Menu – Edit View Dial String This is where you enter the phone number for which you want to generate tones. measured in milliseconds. and 1633Hz. 1500Hz. . Preview Press this button to audition the current DTMF Signals settings before you apply them to the active waveform. Select this option to enable the frequency entry boxes on the keypad chart below. Then hold the receiver of your phone next to the speaker and play the wave. Click in an entry box to change that frequency. MF Signals (CCITT R1) Choose this option to have Adobe Audition generate MF signals (tones that are internal to telephone networks) using paired combinations of the frequencies 700Hz. Presets This section allows you to recall and manage DTMF Signals presets. Each color has its own characteristics. Adobe Audition interprets it as a pause. where 100% means maximum volume without clipping. Break Time This is the number of milliseconds of silence between successive tones. Adobe Audition generates DTMF signals (normal push-button telephone type tones) using combinations of the frequencies 697Hz. Your phone will dial the number you entered. The presets in this function save everything. 941Hz and 1209Hz. Amplitude This setting determines the volume level (in percent) of the tones generated. Noise This function generates random noise in a variety of colors. Tone Time Enter the milliseconds for which the tones will last. and “d”. Twist “Twist” refers to how much louder the higher frequency tone is from the lower frequency tone. DTMF Signals With this option selected. 1300Hz. 900Hz. color is used to describe the spectral composition of noise. Reset to DTMF Press this button to clear any custom frequency entries and replace them with the standard DTMF frequency combinations. “c”. 1336Hz. Entering the pause character (defined in Pause Character below) inserts a pause of a defined length. try entering your favorite phone number to generate the tones for it. Pause Character When you enter this character in the Dial String field. and will insert silence for the duration specified in the Pause Time field. You may enter other characters such as the “*” and “#” symbols. Pause Time When the pause character is used in the Dial String field. More information about Presets can be found in the “Looking at the Work Area” chapter. 852Hz. Traditionally. 770Hz.

ADOBE AUDITION 191 User Guide Generate Noise dialog Adobe Audition inserts noise from the current playbar cursor position. To specify the distance from center of the left and right noise sources. pushing any following audio back in time. When graphed. the other from the center. plus a small random amount. • White noise has a spectral frequency of 1. .and waterfall-like sounds. the pattern looks identical to when zoomed out. Color Adobe Audition has the following noise options: • Brown noise has a spectral frequency of 1/f^2. The left channel’s noise is completely independent of the noise of the right channel. Use noise as the basis for creating weird sound effects. • Pink noise has a spectral frequency of 1/f and is found mostly in nature. the next sample in the waveform is equal to the previous sample. and other natural sounds. Adobe Audition generates Spatial Stereo noise by using three unique noise sources. When you listen to it with stereo headphones. or other audio system component. Adobe Audition generates white noise by choosing random values for each sample. white noise sounds very “hissy”. It is neither random nor predictable. the wave follows a Brownian motion curve. deleting existing audio. waterfalls. not just in the center. rushing river. Because the human ear is more susceptible to high frequencies. for creating soothing sounds like waterfalls (perfect for use with Adobe Audition’s Binaural Auto-Panner function). Brown noise is so called because. but pink was more appealing). this waveform looks like a mountain range. It is the most natural sounding of the noises. in layman’s terms. except at a lower amplitude. you can generate rainfall. where left and right channels are the same. one for each channel. Style Choose among the following styles: • Spatial Stereo: If you choose this option. A delay of zero is identical to monaural noise. and the last from the right. This means. your mind perceives sound coming from all around. About 900 to 1000 microseconds correspond to the maximum delay perceivable. or for generating signals that can be used to check out the frequency response of a speaker. that there’s much more low-end. equal proportions of all frequencies are present. Pink noise is exactly between brown and white noise (which is why some people used to call it tan noise. when viewed. microphone. This results in thunder. It has a fractal-like nature when viewed. and there are many more low-frequency components to the noise. and thereby lengthening the duration of the waveform. That is. • Independent Channels: Select this option to tell Adobe Audition to generate noise by using two unique noise sources. wind. By equalizing the sounds. enter a delay value in microseconds. Selecting an area and generating noise replaces the selection. and spatially encodes them to appear as if one is coming from the left. In other words. When zoomed in.

Adobe Audition generates Inverse noise by using a single noise source (similar to the Mono option).192 CHAPTER 9 Generate Menu – Edit View • Mono: If this option is chosen. With higher intensities. Duration In this field enter the number of seconds of noise you want to generate. Or. When you listen to it with stereo headphones. with control over numerous amplitude. choose this tab to select the initial tone settings.and frequency-related settings. the noise becomes more erratic. Generating tones is a great way to provide base audio to create impressive sound effects. using a scale from 2 to 40. However. and sounds harsher and louder. the effect is that of the sound coming from the center of your head instead of out in space somewhere. about 10 to 20 seconds) and delete excess noise at the beginning and end so that the waves are starting and ending at the midpoint. Then copy and loop (using Edit > Mix Paste) as many times as needed. Intensity Adjust this slider to specify the noise’s intensity. with the left and right channels set equally to the same noise source. you can key in the value numerically in the entry box to the right of the slider. this time the left channel’s noise is exactly inverse of the right channel’s noise. Note: For very long periods of noise. • Inverse: With this option selected. it’s faster to generate a shorter period (say. Generate Tones Use this function to create a simple waveform. The tone generated will gradually go from the initial state to the final. Adobe Audition generates Mono noise by using a single noise source. Final Settings When the Lock to these settings only box is unchecked choose this tab to select the final tone settings. The tone generated will gradually go from the initial state to the final. . Generate Tones dialog Initial Settings When the Lock to these settings only box is unchecked.

the phase difference will cycle through 360 degrees each second. this option allows you to control that. waves will start at the baseline. For example. the overtones. but because of the variance in the perceived energy levels of different frequencies to the human ear. Modulate By This setting modulates the Base Frequency in pitch over a user-defined range. they seem to warble in amplitude. If you start at 90 degrees. base frequency. • Change Rate dynamically changes the relative phase between the two channels of a stereo audio file over time at a given rate. Modulation Frequency This is the rate (times per second) at which the frequency modulates. if you enter 1Hz. modulation. Entering a value of 10. generates tones that seem to warble in amplitude at the rate of 10 times per second. A value of 0 will be completely in-phase. modulation. If you start at 0 degrees phase.) Then. Experiment and have fun. a 100Hz setting modulates the original frequency by +. If the Lock to these settings only box isn’t checked.ADOBE AUDITION 193 User Guide Lock to these settings only Check or uncheck this box as desired: • If checked.100Hz. The tones actually warble in pitch (frequency) as they should. If you are working in great detail with tones and need to have the phase “just so”. Phasing Choose the appropriate phase: • Start Phase is the starting location in the cycle that will be produced. and 180 will be completely out of phase. You can generate several effects with these five overtones. the wave will start at full amplitude (generating a noticeable click as well). modulation frequency. they do not vary over time. Copy from Initial Settings This button in the Final Settings dialog copies the tone values from the Initial Settings window to the Final Settings window for editing. dB Volume Use the db Volume sliders to select the overall gain for each of the right and left channels from -80db to 0dB. all of the values can change over the duration of the audio file. base frequency. . You can control both channels independently when generating stereo tones. frequency multipliers. You may also dynamically change the frequency multipliers. Enter the multiplier for each overtone below the Frequency Components slider(s). and modulation frequency for interesting effects. • Uncheck this box to dynamically change the proportion of any overtone over time by choosing the initial and final proportions. and overtone intensities are constant. The overall gain (signal level) may be adjusted with the dB Volume sliders. Click on the appropriate tab to change Initial and Final settings. Base Frequency This is where you enter the main frequency to be used for sound generation. for instance. so that they morph from the initial to final settings. use the sliders to mix each of the individual components (0 to 100%) in proportion to one another. Frequency Components Use the Frequency Components controls to add up to five overtones to the fundamental frequency (Base Frequency). In other words. (The actual frequency will be this many times the fundamental. • Phase Difference purposefully allows the left channel to be out of phase with the right channel. a 1000Hz tone would modulate between 950Hz and 1050Hz. For example.

Note: If you check the Modulate option. Each flavor has a particular sound unique unto itself. Demodulate can be used on a previously modulated source with interesting effects. Demodulate requires a highlighted selection. Flavor Use this drop-down list to choose the type of waveform to use. • SineFundamental. Source Modulation Choose an option for modulation: • Modulate: With this option checked. instead of generating new tones. by the current tone settings.194 CHAPTER 9 Generate Menu – Edit View DC Offset The DC Offset value entered here adds a constant DC (“Direct Current”) amplitude to the tone. which shifts the entire waveform up or down by the specified percentage. entering . or multiplied. • Demodulate: Like Modulate. • Overlap (mix): Checking this option will mix the generated tones on top of the selected audio. Presets This section allows you to recall and manage Generate Tones presets. . Preview Press this button to audition the current Generate Tones settings before you apply them to the active waveform. make sure that a section of the active waveform is highlighted. no harmonics (pure tone) • TriangleOdd harmonics with amplitude of 1 to itself (squared) • Square Odd harmonics with amplitude of 1 to itself • SawtoothAll harmonics with amplitude of 1 to itself Duration This setting lets you enter the length of the generated tone (in seconds). More information about Presets can be found in the “Looking at the Work Area” chapter. For instance. This is great for adding really weird special effects. the currently highlighted wave data is be “ring modulated”.25 in the Duration field will generate tones for exactly one-fourth of a second. Feel free to use decimals for partial seconds.

Status Areas The left status area directly underneath the graph displays the waveform’s overall highest frequency. It also shows. . in parentheses. each channel’s musical equivalent note number and positive/negative cents.195 Chapter 10: Analyze Menu – Edit View T he Analyze menu contains functions that give you information about the file or selection being displayed when in the Edit View mode. as well as the maximum amplitude for both the left and right channels. and 4) as a waveform is playing to take a “snapshot” of the waveform’s frequency at that moment in time. Hold Press one of the four Hold buttons (which are numbered 1. Show Frequency Analysis This command displays Adobe Audition’s Frequency Analysis window. To clear a frozen frequency outline. The x-axis (left to right) represents frequency (measured in Hz). uncheck it to display the plot on a logarithmic scale. Frequency Analysis Window The Frequency Analysis window can float above Adobe Audition’s main interface. It contains a graph of the frequencies at the cursor position or at the center of a selection. The right status area directly underneath the graph displays the frequency for the left and right channels measured at the insertion point. Linear View Check the Linear View box to display the graph’s plot with a linear horizontal frequency scale. The frequency outline (which is rendered in the same color as the button pushed) is frozen on the graph and overlaid on the other frequency line(s). press its corresponding Hold button again. while the y-axis (bottom to top) corresponds to the amplitude of the corresponding frequency (measured in dB) on the x-axis. 3. 2. Up to four frozen frequency outlines may be shown at once. Options Use this drop-down list to select a graphing display option. or dock at any one of several places within it.

) Release the right-click button and the zoomin occurs. even though they may be much lower in volume. Reference The value entered into this field means that a full scale (FS) sine wave will show up as that amplitude.196 CHAPTER 10 Analyze Menu – Edit View • Lines: The waveform’s left and right channels appear as simple lines. . making it easier to pick out the major frequency components. Then. • Bars (Right on top): Choose this option to have the right channel appear in front of the left channel in Bars mode. The lines that represent the frequencies are smoothed out. The Triangular window gives a more precise frequency estimate. a full scale sine wave will display with its peak at 0dB. Scan Click this button to scan the highlighted selection and show all frequencies present in that selection. • Area (Right on top): Choose this option to have the right channel appear in front of the left channel in Area mode. • Bars (Left on top): While the Area modes smooth out the lines that represent the frequencies. • Area (Left on top): The Area modes are similar to the Lines option. FFT Window Type This drop-down list lets you choose from six types of FFT windows. the Bars modes show the actual limitations on analysis resolution by splitting the display into rectangular segments. FFT Size This drop-down list allows you to select from several FFT (Fast Fourier Transform) sizes. Zooming (Frequency Ruler) To zoom in on the Frequency Analysis window’s x-axis (horizontal) ruler – the one that measures frequency – place your mouse pointer over the ruler. A value of 30dBFS would mean that a full scale sine wave displays with its peak at 30dB. ready to paste into your favorite Windows-based text editor or word processor. with the default value of zero. but the area beneath the lines is rendered as a solid color. (You’ll notice that your pointer turns into a magnifying glass.) You can also generate a step-by-step animation by clicking on the main waveform window and then holding down the Right Arrow key. Copy to Clipboard Press this button to send a text-based frequency report of the current waveform to the Windows Clipboard. but it’s also the noisiest. The higher the FFT size. and the left channel appears in front of the right channel. Advanced Press the Advanced button to see additional options. In other words. For instance. Higher FFT sizes give you more accurate results in terms of frequency (such as the overall frequency estimate). Select this option to have the left channel appear in front of the right channel. the Frequency Analysis window updates in real time while you play your file. right-click and drag to select the area you wish to zoom in on. (Keep in mind that how well it ultimately updates in real time with these settings is based on your computer’s speed. but the sidelobes are very low. Note: When you set the FFT size to 4096 or lower. Each window type displays a slightly different kind of frequency graph. and the narrower the bar. This means that other frequencies will be shown as present. but are also much slower. As the cursor scrolls across the display. the Blackmann-Harris window has a broader frequency band which isn’t as precise. with each channel displayed in a different color. CEP displays the spectral information in the Analysis window. the greater the analysis resolution. At the other extreme. this value essentially just scoots the display up or down.

Zooming (Amplitude Ruler) To zoom in on the Frequency Analysis window’s y-axis (vertical) ruler – the one that measures the amplitude of a frequency – place your mouse pointer over the ruler. • Choose Zoom Out Full to display the entire horizontal waveform or selection in the Frequency Analysis window. Left-click and drag the hand horizontally to scroll the current zoom range forward and backwards.) Release the right-click button and the zoom-in occurs. • A right channel-only waveform will display as a horizontal line.) • A mono (in phase) waveform will display as a rising diagonal line from left to right. . the pointer then changes into a hand. A menu pops up with two options. (“Phase” as used here is the amplitude difference between channels. Show Phase Analysis This command displays Adobe Audition’s Phase Analysis window. (You’ll notice that your pointer turns into a magnifying glass. place your mouse cursor over the horizontal ruler and right-click. A menu pops up with two options. place your mouse cursor over the vertical ruler and right-click. • Most stereo audio is generally fuzzy looking. • An inverse left channel 180-degrees out-of-phase waveform (the right channel is in phase) will display a line descending from left to right. put your mouse pointer over the vertical ruler. To zoom out. Then. the display will be going in almost all directions. • A left channel-only waveform will display as a vertical line. upward sloping from left to right. Left-click and drag the hand horizontally to scroll the current zoom range up and down.ADOBE AUDITION 197 User Guide To navigate a zoomed-in frequency display. To zoom out. put your mouse pointer over the horizontal ruler – the pointer then changes into a hand. • Select Zoom Out to get back to the previous view displayed before performing the last zoom-in. • If audio has very wide stereo separation. To navigate a zoomed-in frequency amplitude display. Using a Lissajous Plot graph. right-click and drag to select the area you wish to zoom in on. • Select Zoom Out to get back to the previous view displayed before performing the last zoom-in. • Choose Zoom Out Full to display the entire vertical ruler in the Frequency Analysis window. it lets you easily see any phase differences between the channels of the current waveform.

all you’ll see on the graph is a single line. but require much more processing power to be effective. or dock at any one of several places within it. The x-axis (horizontal) ruler plots the side channel [(right . a vertical line if it’s the right channel. Choose the sample size that produces the best performance for your system. M-S Button When the M-S (Mid-Side) button is pushed.198 CHAPTER 10 Analyze Menu – Edit View Phase Analysis Window The Phase Analysis window can float above Adobe Audition’s main interface. Normalize Press this button to make the phase analysis visualization as large as possible so the largest of its edges reaches the graphing window’s boundary. the display is essentially rotated to the left by 45 degrees. Samples This drop-down list allows you to select from several sample sizes.left)/2] while the y-axis (vertical) ruler plots the mid channel [(right + left)/2]. If used with a mono audio file. Higher sample sizes give you more accurate results. Note: The Phase Analysis window is designed to be used with stereo waveforms only. the Phase Analysis window will show a moving straight line as the audio file is played: a horizontal line if it’s the left channel. Should only one channel of stereo waveform be highlighted. .

Details about each channel of a stereo waveform are clearly shown. Waveform Statistics dialog – General tab . It consists of two tabbed areas (General and Histogram) plus a section for RMS settings.ADOBE AUDITION 199 User Guide Statistics The Waveform Statistics dialog displays a wealth of information about the active waveform.

Positive values are above the center line (zero volts) and negative values are below. Possibly Clipped Samples This field displays the number of samples which may be clipping (those that reach -32768 or 32767 for 16-bit waveforms. Press the [->] button to place the playbar cursor at that location. The Waveform Statistics dialog is automatically closed. Peak Amplitude The waveform’s peak amplitude is shown here. DC Offset The measure of the DC (“Direct Current” or center of the waveform) is shown here. for example). . Press the [->] button to have the playbar cursor jump to the peak amplitude in the waveform. Peak amplitude is the absolute maximum sample value given in decibel form. Press the [->] button to have the playbar cursor jump to the first clipped sample.200 CHAPTER 10 Analyze Menu – Edit View Waveform Statistics dialog – Histogram tab You can jump to the exact location in the waveform for certain values by clicking on the appropriate arrow button to the right of that value. General Tab Minimum Sample Value This field shows the minimum sample values in the waveform or highlighted range. The Waveform Statistics dialog is automatically closed. Press the [->] button to place the playbar cursor at that location. The Waveform Statistics dialog is automatically closed. Maximum Sample Value This field shows the maximum sample values in the waveform or highlighted range. The Waveform Statistics dialog is automatically closed. measured in percent.

Histogram Tab This section displays a histogram of the RMS amplitude values in the highlighted audio selection. then this means that 0 dB displayed in any of the RMS boxes is equivalent to a sine wave at full scale (with peak amplitude at 0dB – using every sample value in the 16-bit range). Copy Data to Clipboard Press this button to copy all information displayed in the General tab to the Windows clipboard. If you generate a max amplitude sine wave. The more audio there is at a particular amplitude. The Waveform Statistics dialog is automatically closed. Maximum RMS Power This value is the maximum Root Mean Squared (closer to what the ear hears) amplitude of the waveform that is scanned using a window of the size given below as the RMS Window Width. .) This can be useful for determining future amplification amounts. Average RMS Power This figure represents the average power of the entire selection. Press the [->] button to have the playback cursor jump to the average quietest section of the waveform. Actual Bit Depth The waveform’s bit depth (or “float” if it uses the full 32-bit float range) is reported here. Press the [->] button to have the playback cursor jump to the average loudest section of the waveform. Left/Right Buttons Use the buttons to display the corresponding channels. it’ll read 0dB if this button is chosen. Total RMS Power This figure represents the total power of the entire selection given as RMS amplitude. This is a good measure of the overall loudness of the waveform selection. while the y-axis (vertical) ruler measures percentage. The graph shows which amplitudes are most common. The x-axis (horizontal) ruler measures the amplitude in dB. dynamic compression amounts. with heights of the bars representing observed frequencies. You can then paste this info into a text editor or any other Windows application that supports pasting of text from the clipboard.ADOBE AUDITION 201 User Guide Minimum RMS Power This value is the minimum Root Mean Squared amplitude (closer to what the ear hears) of the waveform that is scanned using a window of the size given below as the RMS Window Width. • Select the Left option to see the waveform’s left channel visualized as a histogram. Different colors are used to represent each of the two channels. The Waveform Statistics dialog is automatically closed. the more the graph will show for that amplitude. and more. • Pressing the Right option displays the right channel of the waveform in histogram form. (A histogram is a bar chart that shows the distribution of frequencies. RMS Settings Control the display with these settings: • 0dB = FS Sine Wave: If this option is checked.

you would want to account for DC. then a full scale square wave will read out as 0dB for the RMS. Some users expect a full scale square wave to be 0dB. when calculating the RMS values. click this button to recalculate the RMS values based on the new window size. the DC offset found is subtracted out before doing the RMS calculation. will read as having a high RMS. Recalculate RMS After adjusting the Window Width value. a quiet signal that is well above the center line) then the actual RMS signal amplitude is actually quite small. Since a full scale square wave is about 3. which may not be what you want. but could read much higher because of the DC amount. even a signal that is total silence. these RMS boxes will adjust by about 3dB when you toggle between them. but has a high DC offset.02dB louder than a full scale sine wave. .202 CHAPTER 10 Analyze Menu – Edit View • 0dB = FS Square Wave: If this option is selected. Otherwise. Account for DC If this box is checked. This means that if your signal has a DC offset (say. Window Width Adobe Audition measures the RMS over a window (measured in milliseconds) of this size when calculating the RMS minimum and maximum values. So. for the most accurate signal-relative RMS readings. while others expect a full scale sine wave to be 0dB.

The order of this list is the same as in the Favorites menu. Name Enter the name of a created Favorite in this field. Edit Favorites This command brings up the dialog where you create. Down This button moves the selected item down in the list. The order of this list is the same as in the Favorites menu. scripts. .203 Chapter 11: Favorites Menu – Edit View T he Favorites menu allows you to create. and even third-party tools (the latter using command line executables). For example My Delays\Hall Reverb places the item under Hall Reverb in the My Delays submenu. You may create hierarchical menus by using a backslash. Up This button moves the selected item up in the list. and save your favorite Adobe Audition effects. All of the favorites you create appear on this menu. Edit Pressing this button allows you to modify the properties of a highlighted entry in the Favorites list. edit. and organize items that appear in Adobe Audition’s Favorites menu. You can also categorize the menu items into hierarchical submenus for easy organization. customize. Delete This button deletes the highlighted Favorite. Edit Favorites Dialog New Press this button to enable the fields in the Properties area of the Favorites dialog so that you can create a new Favorite. delete.

and Alt keys (or any combination of the three) to act as the first part of a multiple key shortcut. For instance. Num Lock.. . Uncheck the Show Dialog box to automatically use the chosen settings to run the function. the 2 after the dashes will be ignored. you can use the Ctrl. enter a different number of dashes. Shift. Caps Lock. Clear Press this button to remove the entry in the Press new shortcut key field. Scroll Lock. Tab.g. Show Dialog Check this box to bring up the settings dialog for the particular Effects or Generate function when you call the Favorite. “My Effects\------”). enter the submenu path first (e.) However. Save Press this button to save a new or edited entry to the Favorites List.g. (The most notable exceptions are the Print Scrn. The text will be nonfunctional. Copy From Last Press this button to copy all the settings from the last Effects or Generate function that was started successfully. Note: Make sure you do this before you press the Favorites dialog’s Close button. “------2” is considered a valid separator. If you want more than one separator. press the desired key(s) to use for the Favorite’s shortcut key. Just select the desired item. of course. or change the text so that it doesn't match something already in the list. Edit Settings Click on this button to call up the settings window that corresponds to the particular Effects or Generate function. Adobe Audition gladly accepts most single key shortcuts. “------”) into the Name box. With your text cursor in the Press new shortcut key field. Use Current Settings Check this option to apply to the Favorite the settings last used for that particular Effects or Generate function. Press new shortcut key You may assign a key or combination of keys to act as a shortcut to any of your Favorites. To create a separator bar for a submenu. The last used settings for the item chosen appears in a window just below the Effect list. The settings dialog will show the settings you chose in Edit Settings…. Function Tab Audition Effect All of the items on Adobe Audition’s Effects and Generate menus appear on this drop-down list.204 CHAPTER 11 Favorites Menu – Edit View To place a separator bar into the Favorites list to separate one function type from the others. You can also enter any text you would like the Favorites menu to display. Note: If the shortcut key you choose is already in use elsewhere in Adobe Audition. Cancel A press of this button cancels the current Favorites edit and disables the fields in the Properties area. enter a series of dashes (e.. and Enter keys. You can then change the settings to be used when this item is chosen from the Favorites menu. you’ll be alerted with a dialog box and given the opportunity to overwrite the current shortcut key assignment.

The next time you want to fade out a portion of a waveform. Otherwise. Select Amplitude\Amplify. including any command line switches the particular tool may need. Script This drop-down list contains all scripts available in the selected collection. 6 Press the Edit Settings…button. Pause at Dialogs If checked. Choose the particular script you want to run. Help Tab This area provides instructions for adding separators and submenus to the Favorites menu. 9 Press the Save button to add Fade Out to the Favorites list and press Close. The small button to the left of the field brings up a browse dialog that allows you to choose an Adobe Audition script collection (*. 2 On the Favorites dialog that appears. 3 In the Name field. the entire script will run to completion before control returns. 4 Check the Alt box and select F7 from the Hot Key drop-down list. Tool Tab Command Line Enter the command line for the tool you want to run here. 5 From the Audition Effect drop-down list in the Function tab. 7 Choose Fade Out from the Amplify dialog’s list of Presets and click OK. 8 Make sure the Show Dialog box is unchecked. which will display the Amplify effect dialog.ADOBE AUDITION 205 User Guide Script Tab Script Collection File This displays the current script collection in use. just highlight it and press Alt+F7. the script stops at each settings dialog to allow you to modify the values.scp) file. The small button to the left of the field brings up a dialog that lets you browse your system for the desired program. type Fade Out (without the quotes). push the New button. . To add a Fade Out function to the Favorites List and give it the hotkey of Alt+F7: 1 Select Edit Favorites… from the Favorites menu.

206 CHAPTER 11 Favorites Menu – Edit View .

batch-processing functions. either until the Stop control is pressed. • Recording Length: If the Recording Length option is selected. if nothing is selected). . or to specify a time when Adobe Audition will auto-start and stop recording. pressing the Record control on the transport toolbar will bring up a dialog box prompting you to enter the recording time. When that time period is up. Loop Mode The Loop Mode option toggles Adobe Audition’s Play control between Loop and Play states. Adobe Audition will record for the period of time entered in the Recording Length text box. Timed Record This option can be used to set a finite time limit allowed when recording. With the Timed Record option checked. Start Recording • Right Away: Choose Right Away and Adobe Audition will begin recording as soon as the OK button is pushed. system settings. Adobe Audition will be placed into record mode. • When Loop Mode is checked. Timed Record Dialog Maximum Recording Time • No Time Limit: Select No Time Limit and Adobe Audition will record until you tell it to stop (or when it runs out of free hard disk space). and more. • When there is no checkmark. the recording is automatically stopped. Upon pressing OK. or the time length has expired. pressing the Play control will continuously loop the current selection (or the entire file.207 Chapter 12: Options Menu – Edit View T he Options menu gives you access to Adobe Audition’s configuration options. the Play control plays the selection (or file) once and then stops playback.

Monitor Record Level Checking this option will activate the Level Meters and start monitoring the recording source. . to have Adobe Audition capture a radio broadcast at a certain time).wav and highlight from 0:01:00 to 0:02:00 and then switch to 2. such as a soundcard’s built-in MIDI interface or a MIDI interface card. select the time/date option. To do that. Use the F10 key to quickly turn on and off the Level Meters. To do this. Fill in the starting time and date in the appropriate fields. Use the drop-down list to select the input device to be used for triggering. a sequencer. until it’s stopped manually. For example. To quit monitoring. you’ll need to choose a device for MIDI In that’s recognized by Windows.wav would also have 0:01:00 to 0:02:00 highlighted. Note: Before attempting to enable MIDI triggering. Show Levels on Play and Record This item enables or disables Adobe Audition’s Level Meters. or when Adobe Audition runs out of available hard disk space.208 CHAPTER 12 Options Menu – Edit View • Time/Date: If you want the recording to begin at a future time (for instance. 2. Synchronize Cursor Across Windows With this command check-marked. any of Adobe Audition’s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard. Disable this option if you don’t wish to have shortcuts respond to MIDI events. cause the Level Meters to go away. MIDI Trigger Enable By checking MIDI Trigger Enable. the playback cursor bar or currently highlighted selection will retain its position when switching between open waveforms within Adobe Audition.wav using the Window menu or the Organizer window. which is useful for setting levels before recording. This can be useful if you’re switching between different versions of the same waveform during editing. go to the View menu and uncheck Show Level Meters. It doesn’t. press the Stop control or uncheck Monitor Record Level on the Options menu. or any other device capable of issuing a MIDI command. however. the record button will blink. and choose the desired time and date options. Recording will then continue for the length given. Upon pressing OK. and recording will start when your computer’s time reaches the time specified. if you are looking at 1. which are used to visualize audio levels during recording and playback. go to Options > Device Properties… and click on the MIDI In tab.

The type created depends upon Adobe Audition’s state when you initiate the recording: • Scripts that start from scratch. and their first command is File > New. and will affect any data present at that point. etc. then switching acts this way as well. Scripts & Batch Processing Adobe Audition scripts allow you to save a series of actions (such as a cut/paste or applying an effect) to be performed again with the click of a button. Volume Control) so that you adjust sound card recording levels.a. but with no selection made. .ADOBE AUDITION 209 User Guide When unchecked. Actions begin at the playback cursor position in the waveform. This type of script operates on the entire waveform. It requires a file to be opened. in our example).) that you like to apply often and in combination to achieve a certain sound. Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer (a. a Hall reverb. along with specific settings. to be carried out again by simply calling the script.k. ready to be repeated in the same sequence when recalled. If the waveform that you’re switching to doesn’t contain the currently selected time location (as in a . suppose you have a combination of effects with particular settings (an EQ setting. Scripts – which are simple text files – are similar to macros.5 sec waveform. There are three types of scripts. • Scripts that work on the current audio file. You can record these steps. Scripts and Batch Processing Dialog As an example. These scripts start with no waveform opened. the exact movements of your mouse and any tweaking of parameters are stored. the positions of each of the waveform’s previous cursor or range areas will be retained and redisplayed.

Pause at Dialogs Check this option to have the script stop at each dialog. Pressing Cancel in any dialog will stop the script..scp file. Then. Look for the Collection: entry (it’s on the first line of the script file) and overwrite New Collection with your new title. the script won’t run until Adobe Audition’s condition matches the requirements (in this case. New Collection will be displayed. If the script type isn’t compatible with Adobe Audition’s current state (i. Open/New Collection Pressing this button brings up a standard Open dialog with which you can browse your system’s folders for script (*. leaving the rest of the waveform untouched. Note: The text in the Script Collections field will not reflect the name change until you reload the script. save the file. Double-click an existing . To create a new script collection. The script must have been recorded in a Works on Current Wave mode – that is. Execute Relative to Cursor When using Works on Current Wave types of scripts. It will then be ready for use in a new script collection. The Windows Notepad applet will be launched with the script file loaded. All actions in the script pertain only to the portion that is highlighted. Scripts List This area lists the names of all scripts in the currently opened collection. as opposed to at the original position. there must have been an open waveform (perhaps blank) and no highlighted selection. press the Edit Script File button. Note: The text in the Script Collections field will not reflect the name change until you reload the script. Highlight a script in the list before you edit or run it. Alert when complete If this option is checked. Run Script Click on this button to run the currently selected script. If the collection in use hasn’t been named. Batch Run A single script can be run repeatedly over a group of source files. press the Edit Script File button. This type requires a highlighted selection to be made.e. Then. allowing you to modify the values of that function. navigate through the dialog to the folder that you would like to save the . The Batch Run button is only selectable if a script of this type is selected from the Scripts List. check this option to have all script operations performed relative to the original positioning. before the script was recorded. and enter a name for it in the File Name: field. Note: For more information.scp file to open that script collection. Pressing OK will continue it. save the file.210 CHAPTER 12 Options Menu – Edit View • Scripts that work on a highlighted selection. closing all open files). press Open to save the script file. trying to a Script Starts from Scratch script with a file open). . To name a script collection.scp) files. Look for the Collection: entry (it’s on the first line of the script file) and overwrite New Collection with your new title. a dialog will signal the completion of the script. Script Collections This text area displays the title of the currently opened script collection. see the section on Batch Processing later in this chapter. The Windows Notepad applet will be launched with the script file loaded. Next. To name a script collection.

only scripts whose type matches your current status (open waveform with a highlighted selection. This button is only available immediately after pressing Stop. do so in the description text area below before pushing this button. if you wish to make a script that starts from scratch. to create a particular type of script. you’ll need to edit the script by pressing the Edit Script File button. The description will appear in a non-editable form when you highlight the script to run.) With this option unchecked. a selection of a waveform. To have a script which you’ll likely execute at the current cursor position. If you want to edit the description thereafter. Note: The only time you can enter a description in this box is after recording – not before and not after it’s been added to a script collection file. close all open waveforms before recording the script. The type of script currently selected will darken. push the Clear button.ADOBE AUDITION 211 User Guide For example. Description Immediately after recording a script. Clear If you don’t wish to add the script you’ve just recorded to the collection. If you want to remove a script after it’s been added. you must first supply a title here. Stop Current Script After completing all of the steps to be included in the script. for instance) will be allowed to run. Note: Again. Note: While all scripts will be displayed in the script list. There are three possible script types: Script Starts from Scratch. Script Works On Current Wave. Script Type These three fields indicate what type of script is currently highlighted in the Scripts List. Keep in mind that if you wish to supply a description for the script. simply match Adobe Audition’s current state with that of the target for the script. you may enter a description in this text area for the script you’ve just recorded. . Each operates respectively on either the entire waveform. Record After titling your soon-to-be script. Edit Script File This will open the currently loaded script collection in the Windows Notepad applet for editing. and Script Works on Highlighted Section. For example. (If your cursor is at 0:05:00. A single script can be run on a batch of files by pressing the Batch Run button. press the Edit Script File button to bring up the Windows Notepad applet with the script collection file loaded. For more information. Check this box to apply the script at the current cursor location. Add to Collection Pressing this button will add the script you’ve just created to the currently open script collection. the script will be performed at the original location (0:10:00 in our example). the results would be at 0:15:00. click on the Record button to begin capturing the script’s steps. record the script at a 0:00:00 position and check this option. leaving the other two “grayed out”. Title Before creating a new script. return to Adobe Audition’s Scripts and Batch Processing dialog and press Stop Current Script. plus 10 seconds. suppose you have a script which was originally recorded with a cursor position at 0:10:00. see Batch Process. or from scratch.

there must have been an open waveform (perhaps blank) and no highlighted selection. To open the Batch Process dialog. If desired. That is. . the script must have been recorded in the Script Works on Current Wave mode. Batch Process Dialog Note: In order for a single script to be run on a batch of files. Here are the major components of the Batch Process dialog: Source Files This is the list of files you want to include in the batch for processing. the waveforms can be different formats. or the CTRL key for noncontiguous selections. allowing you to add files or folders to the batch for processing. To remove multiple files from the list. The Batch Run button will only be selectable if a script of this type is selected from the scripts list. press the Batch Run button on the Scripts and Batch Processing window. Add Files This button brings up Adobe Audition’s Please choose the source files dialog.212 CHAPTER 12 Options Menu – Edit View Batch Process Use this part of Adobe Audition to run a single script repeatedly over a group (batch) of source files. To add multiple files or folders to the list. Select the destination folder by typing in its path in this field or by pressing the Browse… button. Destination Folder This is the folder to which the processed files will be saved after the script has been run on them. before the script was recorded. Remove This button removes any selected files from the Source Files list. hold down on the SHIFT key for contiguous selections. or the CTRL key for noncontiguous selections. hold down on the SHIFT key for contiguous selections.

depending on the properties of the input. Unless the script was written expecting the Undo function to be enabled.au bart. as well as enter any appropriate options for the target format by pressing the Change Options… button. the processed file’s extension will automatically change to that of the format chosen using the Output Format control (for instance. however. You may choose from any of Adobe Audition’s supported file types.wav q*. . • An asterisk (“*”) will denote the entire original file name or entire original file extension.aif for Apple AIFF).wav Output Format This selects the file format that all processed waveforms will be saved to. this is a completely safe thing to do.voc b???????.aif toads.au bartx.pcm funny. You can. Disable Undo Check this box to disable the saving of undo information for the duration of the batch run. There are two characters to use when altering the Output Filename Template: • A question mark (“?”) will signify that a character doesn’t change. *.mp3 biglong.au * x.wav qtoads. Change Options Press this button to view options (and optionally change them) for each highlighted sample type setting in the Format Options box. regardless of whether a file of the same name already exists at this location. channels and file type. When running a batch. if available. the options can be set for the output format. bit depth.* ????. • If this box is unchecked. but skip it instead. After this is done. it speeds up processing since undo information doesn’t continually need to be saved on your hard drive. Here are some examples of how filenames will be saved given the original file name and the filename template: zippy.wav * . and the destination filename already exists. force another extension or alter the first part of the filename by using the Output Filename Template.mp3 bigl.ADOBE AUDITION 213 User Guide Output Filename Template The names of files in your batch can be modified before being saved to the Destination folder. files will always be saved to the Destination folder after performing the script.wav zippy. the batch will not even attempt to run the script on the file in question. Note: You would almost always use the Scan List button (described below) before clicking on Change Options. Scan List Pressing the Scan List button causes Adobe Audition to look through all of the files in the Source Files list and examine their sample rate. Overwrite Existing Files Check or uncheck this box to control overwriting. Plus.voc bunny. • With this option checked.

then Adobe Audition’s Batch Processor needs to know what file type to assume for the data. See below for information on the individual settings available.214 CHAPTER 12 Options Menu – Edit View Open Raw PCM As If a source file is unreadable. If you want to convert several files from one format to another (say. a tip about program operation is displayed whenever Adobe Audition is launched. behavior when pasting. and more. The General Tab of the Settings Dialog Show Tip of the Day When this box is checked. If you’d rather not see a tip when Adobe Audition loads. or in a raw format without any header information. resolution. Pressing the Open Raw PCM As… button allows you to define a global file type for interpretation in such cases. auto-scroll. This ensures that the batch process will run continuously without interruption by dialogs asking for input data formats on headerless files. from .mp3). spectral view. . Pressing the F4 key is a fast way to display the Settings dialog. try using File > Batch File Convert instead. General Tab The General Tab of the Settings dialog provides controls for adjusting Adobe Audition’s mouse behavior. and formatting. Settings You can customize Adobe Audition’s colors. you will need to set the sample rate. and miscellaneous other settings in Options > Settings. as well as parameters for auto-play. channels. Begin Press this button to begin batch processing all files in the Source Files list. use of memory and hard disk space.wav to . live update. uncheck this box.

Upon a manual scroll/zoom/selection change: When a manual scroll. In the Edit View’s Spectral View mode. Custom Time Code Display This field is used to define the number of frames per second (FPS) assigned to the Custom time format in the View > Display Time Format menu. if you find the recorded audio becoming choppy. Ctrl key allows dockable windows to dock By default. Restore Default Window Layouts Press this button to reset all window sizes and positions to Adobe Audition’s default arrangement. Values from 10% to 80% work well. Check this box if you’d prefer to disable this behavior. The higher the value. On faster machines. a zoom. Mouse Cursor Over Display Choose whether you want your mouse pointer to appear as an arrow or as an I-beam when it’s over the waveform display. The flat look will take effect the next time you start Adobe Audition. if you go to the Run dialog in the Windows Start menu and enter “c:\cool\coolpro. holding down the Ctrl key when moving one of Adobe Audition’s dockable windows prevents the window from docking. Adobe Audition might look better if your video display is set to 256 colors.wav” as your command line. checking this option will automatically play a file that has been specified on the command line. However. the further you’ll zoom in when you roll the mouse wheel.ADOBE AUDITION 215 User Guide Use shiny look If you’d prefer that certain elements of Adobe Audition’s interface (toolbar buttons mostly) take on a flatter look. or a selection change occurs in Adobe Audition. Edit View Right-Clicks These options let you decide the behavior for a right-click in the Wave Display of the Edit View.wav. Auto-scroll during playback and recording If enabled. for example). then Adobe Audition will launch and begin playing thisfile. Choose the one that best suits your needs. three options are available: You can abort auto-scrolling until the next time you play or record. For example. the waveform display will scroll in sync with playback. and play past the viewed portion (by pressing Shift+Play.exe thisfile. and at lower spectral resolutions (around 256) a nice scrolling spectral plot can be performed while recording with this option on. This only affects when you are zoomed in on a portion of a waveform. Live update during recording This enables live waveform drawing while recording. resume autoscrolling only when the play cursor enters the view. or resume auto-scrolling immediately. Auto-play on command-line load When launching Adobe Audition. leave this option disabled. While there aren’t any performance benefits to not using the default shiny look. you can have the waveform displayed in real-time as audio is being recorded. Mouse Wheel • Zoom Factor: This is the amount to zoom in when rotating the mouse wheel found on Intellipoint-compatible pointing devices. uncheck this box. .

a menu will pop up if this option is selected. • Entire Wave: When you choose this option. or to have the cursor placed at the end of the pasted selection. The System Tab of the Settings Dialog . hold down the Ctrl key as you right-click. Leave this option unchecked for easier multiple pastes. the entire waveform is automatically selected. Triple-clicking always selects the entire waveform. System Tab Adjust the options in this section of the Settings window to tell how Adobe Audition should interact with your system. To see the pop-up menu. Check this box to enable highlighting. • View: If this option is selected. You can then use Shift+Left-Click to extend a selection. even if you’re only viewing a portion of it.216 CHAPTER 12 Options Menu – Edit View • Popup Menu: When right-clicking in the Wave Display. the area that’s automatically selected is limited to the area you can currently see on screen. • Extend Selection: If you check this option. Highlight after Paste When performing a Paste operation (including Mix Paste). you can elect to have the inserted selection automatically highlighted. Double-clicking always selects the current view. one after the other. right-clicking in the Edit View’s Wave Display will let you extend the edge of a waveform selection instead of displaying the pop-up menu. Default Selection Range This setting refers to the amount of waveform data that automatically gets selected (if nothing is already highlighted) when you go to apply an effect.

and reserves for it the amount of memory (measured in MB) specified in the Cache Size field. you can try to remedy it by adjusting the buffer size used. Preview Buffer This is the minimum buffer size to be used when sending data to your sound card for the real-time Preview feature found in many effect dialogs. • Use System’s Cache: Check this box to let Windows handle all disk caching. Temporary Folders Adobe Audition creates temporary files for use when performing edits on your audio. or type its path in the field provided. • Secondary Temp: This is where you specify Adobe Audition’s secondary temporary folder. Adobe Audition will work just fine if no Secondary Temp folder is specified. non-compressed hard drive. Think of it as a virtual “safety net”. Press the “->” button to browse your system for the folder. If you hear “choppiness” (skips or dropouts) when you use the Preview feature. Ideally it should be on your fastest hard drive. increase the buffer size or switch to a faster. this should be on a different physical hard drive than the primary temp folder. Adobe Audition’s default settings should work find for most sound cards. (Choppiness can be caused by insufficient processing power as well. You will need to have enough space available in these folders to accommodate the total size of al the audio files you wish to edit simultaneously. Note: Providing you have enough free space on the drive that holds the primary temporary folder. it does so at the expense of taking more of your computer’s memory. Press the “->” button to browse your system for the folder. Use the two fields in the Play/Record Buffer area to reserve more memory for recording and playback by entering a higher buffer size. both in seconds and a number of buffers. Adobe Audition’s Undo feature lets you revert back to your last edit with the press of a hotkey (Ctrl+Z). Use the reserve free fields to specify an amount to leave available for headroom purposes for both the primary and secondary temporary folders. Keep in mind that while a greater buffer size will allow for increased multitasking when audio is being played. you may need to adjust the buffer size or number of buffers used. Recommended cache sizes are from 8192KB to 32768KB (8192KB is the default). this option reserves the least amount of memory. The default value is 1000 milliseconds.) Keep in mind that a larger Minimum Preview Buffer Size will require more of your computer’s memory. However. Different sound card drives can require different memory buffer settings. • Temp Folder: This is where you specify Adobe Audition’s main temporary folder.ADOBE AUDITION 217 User Guide Play/Record Buffer Different sound card drives can require different memory buffer settings. . If you experience breakups in your audio. so it may be desired for systems with low amounts of RAM. or you can’t stop a recording in progress. Keep in mind that Adobe Audition usually handles caching better than Windows can. For best results. Use these two fields to specify the paths to folders in which these files will reside. Wave Cache Adobe Audition maintains its own data buffer. or toolbar button. but if you hear “choppiness” (skips or dropouts) in recording or playback. Undo Everybody makes mistakes or changes their mind. menu command. or type its path in the field provided.

Because Undo requires extra desk space for its temporary files. Adobe Audition quick saves a file if only a small portion of the file was modified. Don’t enable it unless you have a problem with Adobe Audition’s quick save function. • Purge Undo: Push this button to delete all of Adobe Audition’s Undo files. since nearly all of the time when you’re finished with an Adobe Audition session. This option is disabled by default. Colors Tab Don’t care for Adobe Audition’s default color scheme? This section of the Settings window is where you can customize its interface’s various hues and shades to your heart’s content. Enabling this option will increase the save time considerably for large files. • Levels (minimum): Specify the least amount of Undo levels in this field. Uncheck this box to retain Adobe Audition’s clipboard files on your hard drive after you exit the program. the Undo function is active. but you won’t be able to revert to any previous edits. Adobe Audition automatically purges its clipboard files when it’s closed. Normally. sometimes you may want to turn this feature off by unchecking this box. Adobe Audition must first make a backup copy of the file internally and then write the entire file back during the save process. Delete Clipboard files on exit If this option is checked. Force complete flush before saving When checked. This will free up disk space. these clipboard files are no longer needed and would just take up valuable hard disk space. It was added for users who have problems saving back to the same filename. this option disables Adobe Audition’s quick save feature. If you force flushing before saving. It’s generally a good idea to leave this option enabled.218 CHAPTER 12 Options Menu – Edit View • Enable Undo: If this box is checked. and time to save them before processing. The Colors Tab of the Settings Dialog .

the example to the right will change to reflect the newly chosen color. simply select it from the list. 0 is no trans- parency. • Invert: Check this box to have the selection colors be the inverse of the non-selected colors. while negative numbers darken the display. The example to the right dynamically changes as you make modifications. Positive numbers make the display brighter. 0 is no trans- parency. Selection The controls in this section are used to adjust the appearance of the selected (highlighted) portions of a waveform when shown in spectral display. The currently selected color scheme will be displayed in the Example window. Spectrum Choose one of these options: • Reverse Direction: This option inverts the normal colors of the spectrum display. Pick an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. Choose an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. You may also directly enter a percentage in the box to the right of the slider. Waveform Tab This list contains all of Adobe Audition’s waveform elements which can be given custom colors. • Invert: Check this box to have the selection colors be the inverse of the non-selected colors. Spectral Tab This is where you can adjust the display parameters for Adobe Audition’s spectral display. Selection The controls in this section are used to adjust the appearance of the selected (highlighted) portions of waveforms and blocks. After the new selection has been made. You may also directly enter a percentage in the box to the right of the slider. The value entered adjusts the overall brightness of the Spectral View. while 100 is maximum transparency. .ADOBE AUDITION 219 User Guide Color Scheme Presets Most color assignments in Adobe Audition can be adjusted to your liking and saved as a preset for later recall. similar to an Invert or Negative command in a photo editor. • Gamma: This setting works just like the Gamma function in many image editors. To choose one. After you’ve made your selection. The example to the right dynamically changes as you make modifications. This drop-down menu contains all of the presets that come with the program as well as the ones you’ve created yourself. • Transparency: Use this slider to adjust the transparent value (measured in percentage) of a selection. Save As Press this button to save the currently selected color scheme as a preset. The Transparency controls are disabled. while 100 is maximum transparency. Delete Clicking this button deletes the currently highlighted color scheme preset. • Transparency: Use this slider to adjust the transparent value (measured in percentage) of a selection. The Transparency controls are disabled. the example to the right will change to reflect the newly chosen color.

Select an item from the list and press the Change Color… button to bring up a dialog for adjusting the element’s color. The Display Tab of the Settings Dialog .220 CHAPTER 12 Options Menu – Edit View Controls Tab This window lists the Adobe Audition control elements which can have their colors changed. Dockable Windows Select one of these options to decide how Adobe Audition’s dockable windows will look. the example to the right will change to reflect the newly chosen color. After the new choice has been made. To change the 3D color. • Use system 3D color: With this option checked. dockable windows will take on your system’s 3D color (the same color that Windows uses to render most of the other windows on your system). Then. • Use specified 3D color: Enabling this option will cause Adobe Audition’s dockable windows to take on the 3D color you specify. make sure Dockable Windows 3D Color is highlighted in the controls list. press the Change Color… button to access the Adobe Audition Color dialog to select a new color. Segmented Progress Bar Select this option to have Adobe Audition’s progress bar (which is seen when you run an effect or open/save large waveforms) appear segmented instead of solid. White Progress Background Check this box to make the background of Adobe Audition’s progress bar white. Display Tab In this area is where you choose options for Adobe Audition’s Spectral View and Waveform View modes. • Used darkened system 3D color: Check this option to have dockable windows use the darkened version of your system’s 3D color.

• Resolution: This setting specifies the number of vertical bands to be used in drawing frequencies. Performance will vary based upon the speed of your computer.wav files. such as to find out exactly where a certain frequency starts. The default setting is 75%. • Show Grid Lines: Check this box to display the grid lines in Waveform View. The value in the Display Boundary Lines at box specifies at which amplitude you’d like the boundary lines to appear Peak Files Adobe Audition’s peak (.pk) files store information about how to display . • Window Width: This is the width of the window (or frame size) used in plotting the spectral data. • Show Boundary Lines: Check this box to display the boundary lines in Waveform View. uncheck the box to hide them. . • Show Center Lines: Check this box to display the center lines in Waveform View. The windows are listed in order from the narrowest frequency band/most noise to the widest frequency band/least noise. Plot Style Choose an option: • Logarithmic Energy Plot: In this mode. uncheck the box to hide them. colors are chosen based on percentage of maximum amplitude instead of decibel amplitude.ADOBE AUDITION 221 User Guide Spectral Display Choose an option: • Windowing Function: This drop-down list lets you choose the method Adobe Audition uses to window the spectral data before it displays it. and can be thought of as a sensitivity value. Waveform Display Choose an option: • Show Cue and Range Lines: Check this box to display the cue marker and range lines in Waveform View. The center lines represent zero amplitude of the waveform’s right and left channels. uncheck the box to hide them. and can make file loading almost instantaneous by greatly reducing the time it takes to draw the waveform (especially with larger files). The Scaling factor can be adjusted to highlight audio of different intensities. especially if the Range is quite high (above 150dB). colors change with the decibel value of the energy at any particular time and frequency. The grid lines mark off time on the horizontal x-axis and amplitude on the vertical y-axis. the longer it will take for Adobe Audition to render the spectral display. where 100% is a frame size of your FFT size. uncheck the box to hide them. Window Width basically lets you increase time resolution at the expense of some frequency resolution. Use the Range value to adjust the sensitivity in plotting frequencies. Boundary lines are the horizontal lines that visually indicate where the waveform’s amplitude approaches or exceeds the clipping level. More details in the very quiet ranges can be seen in this mode. Cue marker and range entries in the Cue List are shown with vertical dotted lines overlaying the audio. Liner Energy Plot can be useful for viewing the general overview of a signal without getting bogged down by detail at much quieter levels. • Linear Energy Plot: If this option is selected. but you should lower the value (50 to 75 works best) if you want to increase the resolution horizontally. So the display will become more accurate along the timeline (left and right) and less accurate along the frequency scale (up and down) as the window width decreases. Blackmann or Blackmann-Harris are good choices. connecting the arrows from the top to the bottom of the display. Keep in mind that the larger this number is.

Data Tab The controls in this area of the Settings dialog have to do with the way Adobe Audition handles audio data. Interpret 32-bit PCM . [[how should we handle reference above to Cool Edit?-GS]] .8 float (compatibility with old Cool Edit format) Checking this option causes this version of Adobe Audition to be compatible with previous versions when it comes to handling 32-bit PCM .pk following the original audio filename. and you’re working with very large files (several hundred megabytes or more in size). Uncheck this box if you don’t want Adobe Audition to save peak files on your hard drive. and all subsequent operations will keep the data in the 32-bit realm. you should consider increasing the Peaks Cache to 1024 or even 1536 or 2048. Larger values will reduce the RAM requirement for large files at the expense of slightly slower drawing at some zoom levels.wav files will have peak files saved with them (in the same folder) with the extension .222 CHAPTER 12 Options Menu – Edit View • Peaks Cache: This value determines the number of samples per block to be used when storing peak files. The Data Tab of the Settings Dialog Auto-convert all data to 32-bit upon opening If this item is checked. all . • Rebuild Wave Display Now: Press this button to have Adobe Audition rescan the current file for sample amplitudes and redraw the waveform. • Save Peak Cache Files: If this option is enabled.wav files as 16. If RAM is an issue on your system.wav files. all 8-bit and 16-bit data is automatically converted to 32-bit when a file is loaded.

Because the filter’s cutoff slope is much steeper at higher quality settings. Use Symmetric Dithering Normally you would leave this option checked. However. Most processing done by Adobe Audition uses arithmetic greater than 16-bit. During this conversion. • Upsampling quality level: Enter a value (30 to 1000) for upsampling quality. thus preventing audible clicks when filtering small portion of audio. this box should be checked for best results. you get almost 24-bit sample performance in only 16-bits. the trade-off between using dither (thus adding noise) and truncating the data (thus creating artifacts and correlated quantization noise) generally favor using dither. Smooth Delete and Cut Boundaries Check this box to have Cut and Delete operations smoothed at the splicing point. a DC offset of one-half sample will be added each time something is dithered. Valid settings range from 30 to 1000. as the dynamic range is increased by another 10dB or so. Smooth all edit boundaries by crossfading When applying an effect. Auto-convert settings for Paste When pasting different sample formats. You can enter a value (in milliseconds) in the crossfade time box to specify the crossfade duration to be applied. both methods produce identical audible results in every respect. dithering provides a higher dynamic range and cleaner results. • Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. In general. By contrast. If unchecked. non-symmetric dithering just toggles between 0 and 1. allowing signals as quiet as -105dB. with less distortions and negative artifacts. Sometimes in a final dither. so it’s best to leave this option enabled. • Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones. This will smooth any abrupt transitions at these endpoints. Usually values between 80 and 400 do a great job for most conversion needs. with the results converted back to 16-bit when complete. When enabled. The drawback is that with each operation a small amount of white noise is added at the quietest volume level. The default value is 80. leading to muffled-sounding audio. • Downsampling quality level: Enter a value (30 to 1000) for downsampling quality. the addition of dither retains this subtle information. With dithering. the pre-filter on downsampling will remove all frequencies above the Nyquist limit. but will result in certain high frequencies being “rolled-off ”. thus keeping them from generating false frequencies at the low end of the spectrum. enable this option to automatically apply a crossfade to the starting and ending boundaries of the selection. Symmetric dithering has just as many samples added above zero as below zero. If this option is disabled. the results are truncated to 16 bits when converting back.ADOBE AUDITION 223 User Guide Dither Transform Results (increases dynamic range) Check this option to enable dithering when processing effects such as FFT Filter or Amplify. This will prevent audible clicks at these locations. thus losing the more subtle information. . • A lower quality setting requires less processing time. this may be desired to reduce the bit range of the dither. • Pre-Filter: To prevent any chance of aliasing. the chance of ringing at high frequencies is greater. Adobe Audition uses these settings when autoconverting the clipboard to the current sample format. However.

it may just sound slightly muffled because of the increased high end filtering. Because the filter’s cutoff slope is much steeper at higher quality settings. choose a value of 0. the chance of ringing at high frequencies is greater. • Uncheck this box to have Adobe Audition automatically remove the effect on already processed data when Cancel is pushed. Allow for partially processed data after canceling effect This option decides what happens after you hit the Cancel button while in the middle of applying an effect to a waveform. . • Post-Filter: To prevent any chance of aliasing. this box should be enabled for best results. In general. while a value of 0 will disable dithering. For semi-dithering. With dithering. it’s very difficult to notice. you get almost 24-bit sample performance in only 16-bits. The default value of 1 (bit) will enable dithering. Dither amount for saving 32-bit data to 16-bit files This option enables/disables dithering when pasting 32-bit audio to 16-bit. The difference lies in the larger phase shift that exists at higher frequencies. but since the phase shift is completely linear.5. When upsampling. as the dynamic range is increased by another 10dB or so. thus keeping them from generating false frequencies at the low end of the spectrum. at even the lowest quality setting. This allows signals as quiet as -105dB. generally won't introduce any undesired noisy artifacts. • If the box is checked. Multitrack Tab Use these settings to adjust system performance and default parameters for Adobe Audition’s Multitrack View.224 CHAPTER 12 Options Menu – Edit View • A lower quality setting requires less processing time. The default value is 120. Instead. leading to muffled-sounding audio. but will result in certain high frequencies being “rolled-off ”. Downsampling. a low quality setting will sound almost identical to a high quality setting. Usually values between 100 and 400 do a great job for most conversion needs. You should use high quality settings whenever you downsample from a high sample rate to a low rate. Adobe Audition will leave the effect applied to all data processed up until the point you pressed Cancel. the post-filter on upsampling will remove all frequencies above the Nyquist limit.

you can try to remedy it by adjusting the buffer size used. Lower values indicate a higher level of priority above other system events.5 seconds. be sure the background mixing process is sufficiently complete when you go to record as this may cause the same symptom. The default setting is 1. The default setting is 2 seconds. Adobe Audition’s default settings should work fine for most sound cards. (First. If you experience dropouts while recording in multitrack (especially when playback seems fine). • Recording Buffers: This field is used to adjust the number of buffers used for recording in the multitrack environment. • Background Mixing Priority Level: Here is where you can adjust the priority level of the background mixing process done in a multitrack session.8) may be used. A greater buffer size will require more of your computer’s memory. If you do experience break-ups in your audio. (Choppiness in multitrack playback can also be attributed to the background mixing process not being far enough ahead). Fractional numbers (such as 0. • Recording Buffer Size: Use this field to reserve memory for recording in a multitrack session by entering a buffer size (in seconds). • Playback Buffers: This field is used to adjust the number of buffers Adobe Audition uses for playback in the multitrack environment. The default setting is 2. The default setting is 10. If you experience break-up in your audio.ADOBE AUDITION 225 User Guide The Multitrack Tab of the Settings Dialog Play/Record Set the following: • Playback Buffer Size: This is the buffer size (measured in seconds) to be used when sending data to your sound card when playing back a multitrack session. . Different sound card drivers can require different memory buffer size settings. Different sound card drivers can require different memory buffer size settings. If you hear “choppiness” (skips or dropouts) in multitrack playback. try reducing the number of buffers. try reducing the number of buffers.) A greater buffer size will require more of your computer’s memory. try increasing this setting. The default setting is 10. Increasing the number of buffers may also help for some configurations. Increasing the number of buffers may also help for some configurations. Adobe Audition’s default settings should work fine for most sound cards.

Play. as less data will be transferred across the hard drive(s). it will start both playback (out) and record (in) on the card. The default is 16-bit. Panning Mode This section sets the method used for panning waveforms in a multitrack session. The channel being panned to doesn’t increase in volume as panning gets closer to 100%. Owner of Sound Blaster cards should set this option to Rec. which will speed things up. this is the bit-resolution that will be used. but most don’t. • Start Order: After opening each device driver (see Open Order). However. Owner of Sound Blaster cards should set this option to Rec. Play. • Equal-power Sine: Choose this option to pan left and right channels with equal power. Defaults Set the following: • Track Record: Check the desired radio buttons to specify how waveforms are created when recording directly into the Multitrack View: as mono or stereo. This results in an increase of 3dB RMS on the channel being panned to when at 100%. . Play. and as 16-bit or 32-bit. Rec. if you’re using multiple sound cards. 32-bit is better as it provides optimization at mixdown. Best quality is achieved by leaving this at the default 32-bit setting. but most don’t. Because the multitrack environment requires full-duplex capability. • Crossfade Time: This is the amount of time (measured in milliseconds) over which crossfading occurs when a take created using Punch-In is merged back into the surrounding waveform. For single output device situations. it may be advantageous to choose 16-bit for premixing. • Pre-Mixing: This is the bit size used for the background mixing process. Because the multitrack environment requires full-duplex capability. both playback (out) and record (in) on the card. Press the Dithering Options… button to bring up a dialog that lets you specify how you want the 16-bit mixdown to be dithered. Some cards require this order to specific. left-panning is achieved by reducing the volume of the right channel. Regardless of the session format (16-bit or 32-bit). so a hard pan left will contain the same loudness as both channels together. or ready.226 CHAPTER 12 Options Menu – Edit View • Open Order: This setting determines the order that the sound card device drive will be opened for use in the multi- track environment. Merging Set the following: • Delete old takes after merging: Check this box to have Adobe Audition automatically delete any unused takes created during a Punch-In when you select a take to go with. Note: Owners of the Digital Audio Labs CardD should set this option to Play. • L/R Cut (log): If this option is chosen. unused takes remain available to the Session (in the Insert menu) and occupy hard drive space. or faster hard drives. this setting determines the order that the sound card device drive will be started in the multitrack environment. it will “open”. mixdowns can be generated at either 16-bit or 32-bit quality with this option. Note: Owners of the Digital Audio Labs CardD should set this option to Rec. Mixdowns When performing a mixdown. Some cards require this order to specific. If this setting is off. and right- panning is performed by reducing the left channel volume.

not with recording on top of existing waveforms. Copy. If the amplitudes aren’t lined up on both sides of the selection. This option allows for some measure of near sample-accurate synchronization across different sound cards. For instance. the first Out device listed in the session – the one on Track 1) and the record device of the waveform being recorded. This option allows for some measure of near sample-accurate synchronization across different sound cards. the latency would be 27 * 1000 / 44100 or 0. (The reason for the milliseconds format and not samples is because at various sample rates this latency will be different in terms of samples. and Paste-type edits to the nearest place where the waveform crosses the center line (zero amplitude point). audible clipping can occur in 16bit sessions. synchronized device starting. and you do a loopback test (by connecting the audio Out to the audio In and recording some “ticks”) and each recording is still a fixed amount out of sync. or when using with a single sound card that doesn’t use the same clock for playback and recording (such as the Sound Blaster Live! card)..ADOBE AUDITION 227 User Guide Note: Because panning can actually make one channel louder than the original waveform. To avoid this. synchronized device starting. Smooth auto-scrolling during playback By default Adobe Audition uses a “paging” method of scrolling in Multitrack View instead of the smooth scrolling technique used in Edit View. If you’d rather use smooth scrolling when playing back audio in Multitrack View. and all devices keyed off of the same clock) you don’t need to check this box. look at the difference in samples. If the true sample rates on the cards differ enough that the recording would have drifted out of sync with the original if both were played back at exactly the same sample rate. Correct for Drift in Recordings If this box is checked. Correct for Start Sync in Recordings If this box is checked. or punch-ins. This often results in an audible pop or click at that point. This saves on system resources.. then you can adjust for this by entering this amount (in milliseconds) in the Latency field of Options > Device Properties for the recording device being used.e. then the recording is corrected by resampling to make it the proper length. Note: On sound cards that support sample accurate devices (i. not with recording on top of existing waveforms. Auto Zero-Cross Edits Check the Auto Zero-Cross Edits box to have Adobe Audition automatically adjust the beginning and end points of all Cut. multiply by 1000 and then divide by the sample rate. or punch-ins. the endpoints are at different amplitudes. This option only works with new record tracks. work in the 32-bit realm if you’re using the Equal-power Sine panning method. This option only works with new record tracks.61 ms.) Note: On sound cards that support sample accurate devices (i. If different. if the recording consistently appears 27 samples ahead of the playback. To compute milliseconds. the recorded block’s position is adjusted so the recording starts in perfect sync with the playback. . Adobe Audition will look at the sync between the “master” audio playback device (generally. or when using with a single sound card that doesn’t use the same clock for playback and recording (such as the Sound Blaster Live! card). Adobe Audition looks at the exact true time that the record device started and compares that with the time the master playback device started. check this box. Note: If you have this option enabled.e. but will be the same in terms of milliseconds. and all devices keyed off of the same clock) you don’t need to check this box.

Lower settings (200ms) will result in faster response (when pressing Play).5 frames will do. Slack This sets the number of frames CEP can periodically be “out of sync” with the time code before either repositioning the playback cursor to match the code. the playback position will readjust if the sync is off by the Slack amount. Generally a setting of about 2. 500ms to 1000ms should provide plenty of Lead Time to establish lock-up. but at the risk of true sync not being established. Clock Drift Correction Time This specifies how many samples to crossfade when making time corrections to audio played back.228 CHAPTER 12 Options Menu – Edit View SMPTE Tab This is where you adjust Adobe Audition’s settings for working with time code. usually corrected on the next frame sent. Stopping Time Stopping Time is the amount of time (measured in milliseconds) Adobe Audition will continue playing if a dropout in the time code is encountered. It can be used to make up for any discrepancies introduced by your sound card buffers. The default value is 1000ms. a full re-sync will be performed if the sync is off by the Slack amount. The default value is 1 frame. so the playback chases the time code. . The default value is 200ms. measured in samples. The default value is 200 samples. or perform a full re-sync. as there are occasions when the time code frame location numbers may be incorrect. Reposition playback cursor when shuttling If selected. This will not cause a sync problem in the audio sense. The default value is 10 samples. Full re-sync when shuttling If selected. fine tunes the relationship between time code coming in and audio data coming out. Lag Time This setting. The SMPTE tab of the Settings dialog Lead Time This sets is the amount of time (measured in milliseconds) that Adobe Audition has to establish sync with the incoming time code.

Limit Playback to: Use this option to compensate for limitations imposed by your hardware. The capabilities of the selected output device are shown in the Supported Formats table. Depending on if your output device supports it. or a single card that has multiple outputs. you can send 32-bit audio as 3-byte Packed PCM. or 4-byte IEEE float. If you have multiple sound cards. Wave Out Tab This area is where you specify Adobe Audition’s parameters for playback of waveforms. For instance. The Wave Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted output device. 4-byte PCM. This table also shows what (if any) 32-bit formats the output device can handle. and whether it can accept the WDM driver extensible wave format. A Yes or No is shown for different combinations of sample rate and bit resolution. as well as input and output of MIDI signals. they’ll show up as choices in the drop-down list at the top left corner of this window. you can have Adobe Audition limit the playback of 32-bit files to either 16bit or 8-bit and/or mono. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog.ADOBE AUDITION 229 User Guide Device Properties The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms. To change this order. Send 32-bit audio as: This option is enabled if you don’t have any of the boxes checked in Limit Playback to. Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for playing waveforms in Edit View. if your sound card doesn’t handle 32-bit audio correctly. .

types are available from the drop-down list: Rectangular. The same amount of noise overall is present. functions is a wise choice. Note: Dithering only kicks in if you’re limiting high bit depth audio to a lower bit depth playback. because it gives the best tradeoff between SNR. A Yes or No is shown for different combinations of sample rate and bit resolution. distortion. This gives a “crackly” effect that fades in and out on very quiet audio passages. values of (what) to (what) give the best results without adding too much noise. Generally.f. Gaussian. Usually one of the Triangular p. they’ll show up as choices in the drop-down list at the top left corner of this window. from 8 to 32. Wave In Tab This area is where you specify Adobe Audition’s parameters for recording waveforms. Five p.d.: The “probability distribution function” controls how the dithered noise is distributed away from the original audio sample value.d. • Shaping: Select one of the several noise shaping presets (known as “noise shaping curves”) to have Adobe Audition determine the placement when moving noise to different frequencies. other unwanted harmonic distortion noise will appear. • bits: This drop-down list lets you choose the number of bits of Dither to be applied. • p. that as this value is lowered. If dithering isn’t enabled. The Wave In Tab of the Device Properties Dialog . or a single card that has multiple inputs. but you can choose less noise to be placed at one frequency at the expense of placing more noise at another. and noise modulation. Adobe Audition truncates instead. Shaped Triangular. however.f. This means that bits that aren’t used are simply chopped off and discarded. The capabilities of the selected recording device are shown in the Supported Formats table. Note.d. If you have multiple sound cards. You can also specify that no noise shaping is used.f.230 CHAPTER 12 Options Menu – Edit View Enable Dithering: Check this box to activate dithering during waveform playback. Triangular. and Shaped Gaussian.

To change this order. if you record on Track 1. This is a constant number. (The default value is 0. it’s probably because of this latency problem. Get 32-bit Audio using: Depending on if your recording device supports it.ADOBE AUDITION 231 User Guide Order The Order field displays the device preference order for the highlighted recording device. though. it would be 7) to force sync. or a single device that has multiple outputs. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. Multitrack Latency Some sound cards introduce a latency of several milliseconds when they record. or 4-byte IEEE float. press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. this area is where you specify Adobe Audition’s parameters for MIDI and SMPTE output. you can send 32-bit audio as 3-byte Packed PCM.) Adjust to zero-DC when recording Check this box to have Adobe Audition automatically remove any detected DC bias when recording. 4-byte PCM. If you have multiple MIDI devices. Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for recording waveforms in Edit View. they’ll show up as choices in the two drop-down lists at the top left corner of this window. . The MIDI Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Output device. MIDI Out Tab If your system is equipped with one or more MIDI devices. For example. To change this order. so through trial and error you can figure out how out of sync a particular device gets. and then record Track 2 while listening to Track 1 and find that the two tracks are out of sync by 7 milliseconds. and then enter the number of milliseconds here (in our example.

press the Change button to bring up Adobe Audition’s Device Ordering Preference dialog. you can select them here and adjust their Volume Increment value (specified in db). Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system’s playback. The Wave In Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Input device. recording. Ext. and MIDI input devices. MIDI output. . The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations. they’ll show up as choices in the drop-down list at the top left corner of this window. or a single device that has multiple inputs. this area is where you specify Adobe Audition’s parameters for MIDI input. If you have multiple MIDI devices. Controller Tab If you have any external devices that Adobe Audition supports.232 CHAPTER 12 Options Menu – Edit View MIDI In Tab If your system is equipped with one or more MIDI devices. Move between the tabs to adjust the parameters for each type of device. To change this order.

[EV] appears next to the device’s name. Move Up Pushing this button moves the selected item up in the Device Preference Order list. Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. It will then appear in the Unused Playback Devices list. Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog.ADOBE AUDITION 233 User Guide Playback Devices Tab The Playback Devices tab of the Device Ordering Preference Dialog Unused Playback Devices The items in this list are the playback devices on your system not currently utilized by Adobe Audition. Use>> Press this button to move a selected item from the Unused Playback Devices list to the Device Preference Order list. . Just one playback device can be used in Edit View. <<Remove Click on this button to remove a highlighted item from the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for playback in Adobe Audition’s Edit View.

<<Remove Click on this button to remove a highlighted item from the Device Preference Order list.234 CHAPTER 12 Options Menu – Edit View Recording Devices Tab The Recording Devices tab of the Device Ordering Preference Dialog Unused Record Devices The items in this list are the record devices on your system not currently utilized by Adobe Audition. [EV] appears next to the device’s name. Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog. It will then appear in the Unused Record Devices list. Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. . Move Up Pushing this button moves the selected item up in the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for recording in Adobe Audition’s Edit View. Use>> Press this button to move a selected item from the Unused Record Devices list to the Device Preference Order list. Just one record device can be used in Edit View.

Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties dialog. It will then appear in the Unused MIDI Out Devices list. Use>> Press this button to move a selected item from the Unused MIDI Out Devices list to the Device Preference Order list. Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. <<Remove Click on this button to remove a highlighted item from the Device Preference Order list. Move Up Pushing this button moves the selected item up in the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI playback in Adobe Audition’s Edit View. Just one MIDI Out device can be used in Edit View. .ADOBE AUDITION 235 User Guide MIDI Output Devices Tab The MIDI Output Devices tab of the Device Ordering Preference Dialog Unused MIDI Out Devices The items in this list are the MIDI Out devices on your system not currently utilized by Adobe Audition. [EV] appears next to the device’s name.

236 CHAPTER 12
Options Menu – Edit View

MIDI Input Devices Tab

The MIDI Input Devices tab of the Device Ordering Preference Dialog Unused Playback Devices The items in this list are the MIDI In devices on your system not currently utilized by Adobe

Audition.
Use>> Press this button to move a selected item from the Unused MIDI In Devices list to the Device Preference Order

list.
<<Remove Click on this button to remove a highlighted item from the Device Preference Order list. It will then appear

in the Unused MIDI In Devices list.
Move Up Pushing this button moves the selected item up in the Device Preference Order list. Move Down Pressing this button moves the highlighted item down in the Device Preference Order list. Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI

input in Adobe Audition’s Edit View. [EV] appears next to the device’s name. Just one MIDI In Device can be used in Edit View.
Properties A press of this button brings up the highlighted item’s properties in Adobe Audition’s Device Properties

dialog.

Shortcuts (Keyboard & MIDI Triggers)
Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and/or MIDI keyboard. For instance, instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a waveform, you can simply press Ctrl+X.

ADOBE AUDITION 237 User Guide

Likewise, you can execute commands from a MIDI keyboard, a sequencer, or any other device capable of issuing a MIDI command. This type of shortcut is referred to as a MIDI Trigger. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. Note: The Shortcuts (Keyboard & MIDI Triggers)… dialog is fully documented in the “Keyboard Shortcuts” chapter.

238 CHAPTER 12
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239

Chapter 13: Navigating the Multitrack View

M

ultitrack View is one of Adobe Audition’s two major workspaces. (Edit View is the other.) Use Multitrack View to record, assemble, mix, and play your audio creations using up to 128 tracks. Add real-time effects such as equalization, reverb, and dynamics processing. Precisely adjust the desired volume, pan, and effects levels for

each track.

In this chapter we’ll introduce you to Adobe Audition’s concepts of images, blocks, and sessions. We’ll tell you about the basic mouse movements that are crucial to navigation. Plus, we’ll document the interface elements that are specific to the Multitrack View: the Track Controls, the Session Display, the Track Context menu, and the Block Context menu. Note: Interface components that are common to both Edit View and Multitrack View (such as the Level Meters and the Transport Controls) are documented in the “Looking at the Work Area” chapter, while all of the items referenced on the Multitrack View’s drop-down menus are explained in the Edit View menu chapters. The following is a typical layout for Adobe Audition’s Multitrack View Screen:

240 CHAPTER 13
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Multitrack View

About Images
When you’re working in Adobe Audition’s Multitrack View and you move a waveform, MIDI file, or video soundtrack from one track and place to another, or create a series of duplicates for looping, you aren’t actually moving the original audio file data in any way. In fact, you’re manipulating a virtual “image” of that waveform or waveform range in a nondestructive fashion that doesn’t affect the original audio file in any way. Essentially, an image is a set of playback instructions that are tagged to the original audio file(s). For example, creating a series of 16 loops within the Multitrack View window doesn’t actually waste disk space by making sixteen copies of the original waveform. Instead, the session file will instruct the program to playback the same portion of the original audio file (the image) 16 times in a repeating fashion. This concept lies at the heart of modern-day hard disk editing.

ADOBE AUDITION 241 User Guide

About Blocks
Blocks are actually images of waveforms, MIDI files, or video soundtracks that are graphically displayed within the Multitrack View that allow you to mix, move, copy, loop, alter volume and pan levels, and add effects in a non-destructive fashion. (Non-destructive in this case means that you can alter image parameters without affecting the original audio data in any way.)

Two waveform blocks on the same track

You can right-click on a block to call up a menu that contains shortcut commands relating to multitrack editing.

About Session Files
Adobe Audition uses session (.ses) files to save all of the information that relates to a current multitrack project (a.k.a. session), such as audio file placement and info about mixing and panning levels, mute and solo status, and application of real-time effects.

Navigating the Session Display
The following list describes the mouse movements that are crucial to navigating around the Multitrack View’s Session Display window.
Defining a Range Left-click on one side of the range portion that you want to select and drag the mouse to the left or

right. You also select any block that is within the dotted-line rectangle you draw with the mouse.
Editing a Wave Block Double-click on a wave block to send it to Adobe Audition’s Edit View for modification. Moving a Block Right-click a block and drag it horizontally to adjust its position within a track. To move the block between tracks, right-click it and drag it vertically. Displaying Context Menus Two types of context menus can be shown in the Session Display: • Right-click on a block to view the Block Context menu. • To see the Track Context menu, right-click on a track anywhere there isn’t a block.

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Inserting Existing Audio Into Your Session
Unless you’re recording a multitrack session from scratch, the first thing that you’ll probably want to do when starting a session is to begin loading existing audio files into the Multitrack View’s session window. Adobe Audition provides several ways to do this (including dragging files from the Organizer window), but for many people, the most straightahead method is through the Insert menu.

The Insert Menu

The Insert menu provides commands for inserting Wave, MIDI, Video, and Video Soundtracks from any drive attached to your system, as well as the ability to insert files and cues that are already open in Adobe Audition’s Edit View. You may also right-click on a track and select from a similar Insert item.

Recording New Audio Into Your Session
Before you record into an Adobe Audition Multitrack session, you’ll need to enable the track(s) to which you want to record. To enable a track for recording, push the track’s “R” button in the Track Controls. Or, you may right-click in the track anywhere there isn’t a block and select the Record item from the pop-up menu.

If you have more than one device in your system that’s capable of recording (such as another sound card), you can then select the device from which you’ll be recording. Press the track’s Recording Device button, which by default will say “Rec 1”. (The Record Devices dialog may also be displayed by right-clicking in the track anywhere there isn’t a block and selecting the Recording Device item from the pop-up menu.) Not only does the Record Devices dialog allow you to select what device will feed the input for the track, it lets you decide if you want the track to record in stereo, left channel only, or right channel only, plus specify if the track should be recorded in 16-bit or 32-bit modes. Note: You’ll also want to make sure that the levels in your sound card’s mixer are set correctly. This includes enabling the correct input channel and making sure that the input volume isn’t too soft (which can add excessive noise) or too loud (which creates distorted recordings).

The number of tracks that will be visible at one time will remain the same. When recording is complete. Vertical Portion Bar By default. Pushing the Vol. press the Stop button in Adobe Audition’s Transport Controls or hit the Spacebar to terminate the recording process. • Left-click and drag the little hand over the Vertical Portion Bar’s handle to scroll through Adobe Audition’s visible track ranges from tracks 1 through 128. and bus properties.ADOBE AUDITION 243 User Guide After you’ve enabled the desired track(s) and optionally specified its/their recording properties. Drag up to see higher track numbers. but the track ranges being viewed will be shifted either up or down. . Track Controls Adobe Audition puts 128 tracks of recording and mixing pleasure at your disposal. the Vertical Portion Bar runs along the left boundary of the Track Controls window. Right-click on a Track Controls module to display Adobe Audition’s Track Properties dialog. The Track Controls window appears to the left of the session window. you’ve learned them all. Luckily. Adobe Audition’s Track Control window consists of three main areas for adjusting volume. equalization. and can be resized to be as wide or as narrow as you wish. EQ. press the Record button in Adobe Audition’s Transport Controls or use the Ctrl+Spacebar keyboard shortcut to begin recording from the cursor. or Bus buttons at the top of the Track Controls window switches between these three areas. drag down to see lower track numbers. Track Controls set to the Vol Tab Along with the Vertical Portion Bar and the Mix Gauge. the controls for each track are identical – so if you learn one. It’s used to scroll through all of Adobe Audition’s 128 available tracks. as well as to control the number of tracks Adobe Audition shows you at any one time.

an “R” represents a pan to the right. If you make the handle smaller overall. and Bus areas. as well as returning it to its default position to the left edge of the Track Controls window. and Bus areas. Track Pan Field This field – which by default has “Pan 0” in it – displays the pan position of the track in dB. By default. this track will begin recording. Note: The Mute button is available in the Vol. meaning that the output of all other tracks will be muted so that you can hear the track by itself.e. the handle) always shows you what portion (hence the name) of the total file you can see. EQ.. You can pan the track to the left or right by up to 100%. you’re zooming in. By default the track will be named something like “Track 4”. the track’s name is displayed in a “sunken” field. Note: The Solo button is available in the Vol. • Right-click anywhere on the Vertical Portion bar to call up a menu with three zooming options: Zoom In. Pressing it puts the track into Solo mode. The dB number changes as you slide. Either edge of the handle can be stretched. Just left-click the field and slide your mouse vertically or horizontally. The text on the button changes to reflect the output device or bus chosen. and the number after the letter designates the percentage of the pan. and if you make the handle larger. Track Name Field At the top of each Track Control module. Note: The Track Volume Field only appears in the Vol area. which allows you to specify the track’s output device or bus. Multiple tracks may be soloed by pushing down their “S” buttons while holding down the Ctrl key. and Bus areas. which means that the track will no longer be heard in the mix. EQ. . Note: The Output Button is found in both the Vol and Bus areas. but it can be easily renamed by left-clicking on the name of the track and then typing over it. Zoom Out. When the Record button in the Transport Controls is pushed. Output Button Pressing the Output Button (which is labeled “Out 1” by default) brings up Adobe Audition’s Playback Devices dialog. EQ. Multiple tracks may be muted by pushing their “M” buttons. Record Enable Button Pressing the Record Enable button (it’s the button with the “R” on it) will arm the track for recording. An “L” in the field designates a left pan. The colored portion of the bar (i. Note: The Track Pan Field only appears in the Vol area. the more tracks are on screen at once. and Zoom to Selected Tracks. The menu also has options for moving the Vertical Portion Bar to the left or right of the Session Display. Note: The Record Enable button is available in the Vol.244 CHAPTER 13 Navigating the Multitrack View • Left-click and drag the magnifying glass (which appears when your mouse passes over either edge of the Vertical Portion Bar’s handle) to adjust the number of viewable on-screen tracks. it’s set to 0dB. but you can adjust the track volume from -120 dB to 32 dB by left-clicking the field and sliding your mouse vertically or horizontally. Track Volume Field This field – which has a “V” followed by a number – displays the volume of the track in dB. you’re zooming out. Solo Button This is the button with the “S” on it. so the longer the handle is. Mute Button Clicking on the button with the “M” on it mutes the track.

or to bypass the effects on that track. For instance. what actually happens is that the effect is mixed into the background mix. “FX” will become “FX 2” when effects have been applied to Track 2. settings. Note: While it takes time to process a track when you lock it. and Bus areas. such as moving a block or changing effects parameters. The Effects Rack is used to apply any combination of real-time. Note: When a track is locked. which gives you more precise control over the track’s EQ. which allows you to specify the device from which you are recording. Press the Lock Button to the left to lock in the effect(s). . By default. EQ. and mixer. and multitrack effects to the track After effects have been applied to the track. Track Equalization Fields The Low. thus removing the real-time effect from the CPU load. which disables the FX button. Note: The Lock Button is found in both the Vol and Bus areas. Release the button to unlock the effect(s) and reenable the FX button. FX Button Click on the FX button to bring up the track’s Effects Rack. you can easily change a field’s value from -32 to 32 by left-clicking on it and sliding your mouse horizontally or vertically. unlocking it is instant. they take no CPU time.ADOBE AUDITION 245 User Guide Input Button Pressing the Input Button (which is labeled “Rec 1” by default) brings up Adobe Audition’s Record Devices dialog. they’re all set at 0. off-line. mid frequency. Right click on the FX button for quick access to the track's effects rack. the Lock button is enabled. The text on the button changes to reflect the input device chosen. the button is renamed to whatever you’ve typed as a “friendly name” for the effects rack. Lock Button When real-time effects are applied to the track using the FX button. Note: The Input Button is found in both the Vol and Bus areas. When track effects are bypassed. Pressing it tells Adobe Audition to lock in the effect(s) and disables the FX button. Or. Try locking down tracks that you are not working with at the time to save some CPU power for your other work. right-click on an EQ field to bring up Adobe Audition’s Track Equalizers dialog. Mid. and high frequency equalization amplitude for the track. If you haven’t given a friendly name to the effects rack. Keep in mind that when a track is locked. Note: The FX Button is found in the Vol. you can’t do anything to the audio in it. and Hi Track EQ fields show the current low frequency. a number is added on to the button’s label. However.

A single-click on the EQ / A button changes it to an EQ / B button. if you make EQ modifications while the EQ / B button is active. thus bank-switching the EQ settings and allowing you to A/B two sets of equalization parameters. which is fully documented later in this chapter. those settings are preserved.246 CHAPTER 13 Navigating the Multitrack View Track Controls set to the EQ Tab Note: The Track Equalization Fields normally show up only in the EQ area. To force both banks to be equal to the current settings. Right-click on either button to bring up the EQ Presets dialog. so you can A/B against “no equalization” at any time by just clicking that button. the Wet/Dry Fields are enabled and display the bus’ wet and dry percentages. This allows you to A/B any two settings you want. Change the field’s percentages by left-clicking on it and sliding your mouse horizontally or vertically. Wet/Dry Fields If a track’s output is set to a Bus. By default. . double-click on the EQ / A or EQ / B button. However. the setting for the EQ / B button is “flat”. but will appear under the Vol tab if your Track Controls area is sized large enough. EQ / A and EQ / B Buttons These buttons allow you to quickly switch between two different banks of equalization param- eters.

When something is altered. such as a moved or deleted waveform. which means that the entire session has been fully mixed. it measures how much processing needs to be carried out by Adobe Audition “behind the scenes”. add. Adobe Audition has to immediately work that change into the mixed output. The faster your system – especially your CPU and hard drive(s) – the faster Adobe Audition can mix in the background. and subtract waveforms in the multitrack environment. a volume change. the more processing has been done to complete the current mixing tasks. Mix Gauge The Mix Gauge (which is located underneath the Track Controls of the bottommost viewable track) indicates how much background processing Adobe Audition has completed. or new material recorded into a track. The further that the Mix Gauge’s green bar progresses to the right. Once the processing has been completed. except that instead of fuel. Because you can edit. the bar lights up to a bright shade of green. Background mixing occurs behind the scenes much of the time that you’re in the multitrack environment. The Mix Gauge Some notes about the background mixing process: Mixing involves combining all of the placed waveforms into two (or more) channels for output. Adobe Audition must constantly watch for changes to the multitrack session. . and is generally very fast. The mix progress meter constantly shows how far along Adobe Audition in the process of mixing your session. and it does so through background mixing.ADOBE AUDITION 247 User Guide Track Controls set to the Bus Tab Note: The Wet/Dry Fields only appear in the Bus area. It can be thought of as a fuel tank gauge.

248 CHAPTER 13 Navigating the Multitrack View However. It can also be used to zoom in and out horizontally in the Session Display. Session Display The Session Display is the part of Adobe Audition’s Multitrack View that lies to the right of the Track Controls. Adobe Audition continuously mixes. by default. Adobe Audition will usually “catch up” very quickly. while moving it to the right zooms out. • Left-click and drag the little hand over the Horizontal Portion Bar’s “handle” to scroll time-wise through the session. the Horizontal Ruler. • Left-click and drag the magnifying glass (which appears when your mouse passes over the edge of the Horizontal Portion Bar’s “handle”) to change the viewable range of the Session Display. Of course. you need not wait for the meter to reach completion entirely before beginning playback. In general. is at the top of the Session Display – to scroll forwards and backwards in time throughout a session. and you can commence playback again. you can increase its priority by going to Options > Settings. You can temporarily disable background mixing by selecting Pause Background Mixing from the Options menu. It contains all track windows. and the Track Display window. Session Display Horizontal Portion Bar Use the Horizontal Portion Bar – which. just wait a few seconds. Moving the magnifying glass to the left zooms in. Adobe Audition gives you some control over the background mixing process. the Horizontal Portion Bar. and adjusting the Background Mixing Priority Level. clicking on the Multitrack tab. and will continue to do so while playing. you’ll hear a break-up or skipping when playing back the mix. As stated above. if the background mix isn’t sufficiently completed. If that happens. so you can safely begin playback when the mix progress meter is about halfway full. If you’re finding that background mixing isn’t fast enough. .

and Zoom to Selected Tracks. but the range of tracks that are displayed at any one time can easily be changed by using the following mouse commands: • Left-click and drag the little hand vertically over the Track Display Ruler to scroll through Adobe Audition’s visible track ranges from tracks 1 through 128. Regularly using these shortcuts will result in faster editing sessions. • The Display Time Format submenu allows you to choose the time format the Horizontal Ruler uses. Zoom Out. Track Display Ruler The vertical Track Display Ruler – which appears at the right edge of the session window – displays the numbers of all visible tracks. which are shown on the Zooming menu. drag down to see lower track numbers. Zoom In to Left Edge of Selection. • Left-click on the Horizontal Ruler and drag the little hand over the ruler to scroll time-wise through the session. Zoom Full. Zoom to Selection. Several of the zoom commands already have keyboard shortcuts assigned to them. but the track ranges being viewed will be shifted either up or down. and seconds by default). Drag up to see higher track numbers. By default Adobe Audition shows you only four tracks. and Zoom Full. • Snapping allows the edges of any block to “snap” to certain time locations when being dragged. Zoom Out. • Right-click and drag over the Track Display Ruler to automatically zoom the waveform window to show only the specified tracks. • Right-click on the Track Display Ruler to call up a menu with three zooming options: Zoom In. Track Context Menu Right-clicking on a track in the Multitrack View session window will invoke the Track Context menu. Zoom Out. as well as returning it to its default position at the top of the Session Display. Horizontal Ruler The Horizontal Ruler runs along the bottom of the Session Display and acts as a timeline.ADOBE AUDITION 249 User Guide • Right-click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options: Zoom In. and Zoom In to Right Edge of Selection. The number of tracks that will be visible at one time will remain the same. It measures time in the same format specified in View > Display Time Format menu (which is hours. Check the snapping behavior(s) desired. The zoom in occurs when the right mouse button is released. • Right-click on the Horizontal Ruler and drag to select an area to zoom in on. The menu also has options for moving the Horizontal Portion Bar to the bottom of the Session Display. minutes. • Six Zoom commands are provided: Zoom In. . • Right-click anywhere on the Horizontal Ruler to call up a menu with several options.

Both active files (those already in Edit View) and inactive files (not already opened) may be easily inserted. • MIDI from File: Use this command to place a MIDI file (*. To place an item from the list at the session window’s insertion point. You can open several waveforms at once by selecting them with the Shift (for contiguous selection) or Ctrl (for non-contiguous selection) keys pressed. each on its own track. If you want to actually see the video’s visual data. If you try to insert another one. just click on it. • Audio from Video File: Insert the soundtrack from one or more supported video files to the session window using this command. the “Insert into Multitrack” window automatically closes. and audio from video files into Adobe Audition’s Multitrack View.rmi) at the session window’s insertion point. No matter which insertion method you choose. Only one MIDI file may be inserted at a time. MIDI files. you’ll be prompted to close the currently open video file. This allows you to insert either the whole file. just drag it off the list and drop it on the desired track.250 CHAPTER 13 Navigating the Multitrack View Track Context Menu Insert Use the Insert Menu to import waveforms. If a file has cues in it. Multiple waveforms are placed at the insertion point. If you have more than 10 waveforms active. but feel free to re-run this command as often as need to insert addition video soundtracks into your session. but you’re welcome to re-run this command as many times as desired to insert multiple MIDI files in a session. Just one video file may be open in Adobe Audition at a time. while the audio from the video is placed in the track below. . filenames of just the last 10 opened are shown. a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it. A filmstrip graphic that represents the video appears on one track. This window lists all of the files that are currently open in Edit View. It allows you to choose one or more supported waveforms to be placed at the insertion point in the session window. You’re limited to inserting audio from just one video file at a time.mid or *. If you want to insert an item anywhere in the session window. video files. • Open Waveform List: Up to 10 open waveforms will be listed here for your convenience. or expand it and grab one of the cue ranges directly. • Wave from File: This command activates Adobe Audition’s “Open a Waveform” dialog. • Video from File: This command allows you to insert one video file into Adobe Audition’s session window. make sure Adobe Audition’s Video Window is open (View > Show Video Window). • File/Cue List: This command activates Adobe Audition’s “Insert into Multitrack” window.

which is put in the active track Note: Adobe Audition treats your mixed track like any other open waveform. Track Volume This command displays a small floating window which includes a slider for adjusting the track’s overall volume. (You’ll need to hold down the Ctrl key while pressing the “S” button to solo multiple tracks. . You’ll find the Mix Down to Track (Bounce) command handy for creating small submixes in the Multitrack View. When recording into a track. the input will be fed from the currently selected recording device. you can run Solo on multiple tracks to place the track into solo mode.) Solo Current Track Run this command to put just the current track into solo mode. and are displayed as “grayed-out”. Unlike the Solo Current Track command. This command does the same thing as pressing the “M” button on the track console. This command does the same thing as clicking the “S” button on the track console. the track is soloed. • Selected Waves: Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the active track. its solo status will be turned off. Solo Track When this command is checkmarked. (This process is commonly known as “bouncing”. and places the result – a mono or stereo file that exactly replicates the sound of your complete session – in the selected track. • Selected Waves (Mono): Choose this option to mix all highlighted waveforms in the session to a mono waveform. Mute Track Checkmark this command to mute the track. All blocks within the track are ignored during playback and mixdowns. A soloed track has the effect of muting out all other tracks. effects and envelopes are all reflected in the mixed waveform. It can also be sent to Adobe Audition’s Edit View for modification. • All Waves: Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the current track.) Session elements such as looping. • All Waves (Mono): Selecting this option will mix all unmuted waveforms in the session to a mono waveform. images. and is used to quickly isolate a track or tracks from the rest of the mix. If any other track in the session window is soloed. which will be placed in the current track. Arm Track for Record Checking this command gets a track ready for recording. This command does the same thing as pressing the “R” button on the track console. You’ll see its name in the Files tab of the Preferences menu as well as in the Insert > Existing File/Cue… pop-up window.ADOBE AUDITION 251 User Guide Mix Down to Track (Bounce) This functions performs a mixdown as the Edit > Mix Down command does. This means that the track will be ready to record onto when the Record button in the Transport Controls is pushed.

You may also adjust the track’s volume by entering a decibel value in the box above the slider. while moving the scroll control to the left pans the track to left. If real-time effects have been previously added. you’ll see a tabbed window with panes for effect settings and mixing. Note: Each track has a global volume setting. . Rack Settings Click on this command to display the Effects Rack for the current track. Note: Each track has a global pan setting.252 CHAPTER 13 Navigating the Multitrack View Track Volume Window Dragging the slider’s scroll control upward raises the track’s volume. while each block within the track has an individual pan setting. Track Pan Dialog Dragging the slider’s scroll control to the right pans the track to the right. You may also adjust the track’s pan by entering a value from –100 (hard left) to 100 (hard right) in the box to the right of the slider. Track Pan Use this command to display a small floating window which includes a slider for adjusting the track’s overall pan. If you haven’t applied any real-time effects to the track yet. the Effects Rack dialog is displayed. Effects Settings This command does the same thing as pressing the FX button in the Track Console. while moving the scroll control downward reduces the volume. while each block within the track has an individual volume setting.

By default. • New Bus: Click on this button to add a new bus to the Busses list. • Properties: The button brings up the property dialog for the selected Wave device. • Busses: A list of all Adobe Audition busses you’ve created is shown here. A properties dialog for the new bus appears. Recording Devices Select this command to display Adobe Audition’s Recording Devices window. • MIDI Tab: A list of all your system’s MIDI output devices is shown here. busses are automatically named with a letter of the alphabet. which lists all available waveform recording devices in your system. bus. or MIDI device. but you can give a bus a “friendly name” by filling out the appropriate field in the Bus Properties dialog. which lets you assign the output properties for the selected track. Choose the device you wish to use for this track. bus. .ADOBE AUDITION 253 User Guide Playback Device This command brings up Adobe Audition’s Playback Devices window. or MIDI device for all tracks in your session. The MIDI Tab of the Playback Devices Dialog • Same for All Tracks: Check this box to use the selected Wave device. • Wave Tab: The Wave Tab of the Playback Devices Dialog • Devices: All of your system’s devices that are capable of playing waveforms are listed here.

The “X” control to the immediate right of the Max View control closes the active tab. Here are the major components of the Track EQ window: • Track Tabs: The first time you click on any track in Adobe Audition’s session window. a tab is added for that track to the Track EQ window. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. which gives you more control over a track’s equalization than the EQ tab in the Track Controls. . or in stereo from the recording device. • Same for All Tracks: Check this box if you wish these settings to be the default for all 128 of Adobe Audition’s tracks. • Bit-depth Selection: Decide here if you want to record the track in the 16-bit or 32-bit realm. Note: You won’t be able to see the Track Tabs if the Max View window display option is selected. The expanded Track Equalizers window with Track Tabs displayed The Track EQ window is dockable. • Properties: Pressing this button brings up Adobe Audition’s Device Ordering Preference screen. you may detach it and have it float above Adobe Audition’s main window. the right channel. which means you can reposition it at one of several places in the Adobe Audition interface. Or.254 CHAPTER 13 Navigating the Multitrack View Record Devices Dialog • Channel Selection: You can specify if the track will record the left channel. Track Equalizer Activate this item to display Adobe Audition’s Track Equalizers window.

you’ll notice that the two sets of sliders move accordingly when the graph’s control points are manipulated. Dragging to the right increases the Q number. To delete a preset. • Max View: When you press this control – which looks like a small arrow pointing upward – you switch to Max View. middle. You can drag the three control points (which look like balls) around the graph to adjust the EQ curve. while dragging to the left reduces it. which allows you to save favorite equalization settings. Then. Mid. To add the current EQ settings as a preset. The left-most control point initially represents the EQ curve’s low frequency. You may also specify the slider’s frequency by directly entering the desired Hz value in the text box to the right of the frequency slider. as well as delete EQ presets you no longer want. while moving it to the left (or clicking on the arrow to the left of the slider) reduces the frequency. and press OK. as well as the Band buttons. you can adjust the Q number by left-clicking on the box and dragging. press the Restore control – the small arrow pointing downward. to delete you must first press Delete. Enter the name for the new preset. and high frequencies respectively. Keep in mind that since clicking on any item chooses it. and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve’s low. only the Mid Q in the Track EQ window is active. You may also specify the slider’s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slider. If the Track EQ window is in expanded view. middle. • Graph: The graph shows the track’s current equalization curve. and then click Add New to display the New Preset Name dialog. and high frequencies respectively. but by pushing one or both Band buttons. Choose an EQ preset by clicking the “P” and clicking on the preset’s name. you can click on whichever entry you wish to zap. middle and high frequency Q values of the equalization curve are displayed in these boxes. . The graph’s x-axis (horizontal) ruler measures frequency. while bringing it down (or clicking on the arrow to the bottom of the slider) decreases the amplification of the frequency. • Expand/Collapse: Use the Expand and Collapse arrows (which point to either the right or the left) to show or hide the equalization frequency and amplitude faders and their associated text entry boxes. and Hi Frequency Sliders to adjust the EQ curve’s low. All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window. • Band Buttons: By default. while the middle and right-most control points correspond to the EQ curves’ middle and high frequencies respectively. you can activate the Low Q and/or Hi Q settings. • Q Values: The low. Mid. Note: EQ Presets are also accessible from the EQ section of the Track Controls area by right-clicking on the EQ / A or EQ / B button. Drag a slider to the right (or click on the arrow on the right of the slider) to increase the slider’s frequency. which initiates the delete mode (notice that the button lights up when delete mode is active).) If a Q box isn’t “grayed out”. (Q is the sharpness of the equalization circuit’s peak response. To return to the Track Tabs view. while the y-axis (vertical) ruler represents amplitude.ADOBE AUDITION 255 User Guide • EQ Presets: Press the “P” in the upper right-hand row of icons to access the EQ Presets dialog. • Amplitude Sliders: The horizontal Lo. • Frequency Sliders: Use the vertical Lo. The EQ Presets dialog is a “go away” dialog that disappears if you click outside it. Move a slider upwards (or click on the arrow at the top of the slider) to raise the frequency’s amplitude. This in effect gives you the control of a parametric equalizer. click on the “P”. press the “P” icon and then click the Delete button.

• Title: The default title of the selected track (such as “Track 3”) appears in this editable field. while positive numbers (like 100) mean a right pan. which means you can reposition it at one of several places in the Adobe Audition interface. Note that the name of the Track Tab changes accordingly. and more. • Volume Slider: This vertical slider adjusts the track’s volume. Note: You won’t be able to see the Track Tabs if the Max View window display option is selected. To return to the Track Tabs view. while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. • Panning Slider: This horizontal slider adjusts the track’s pan. • Max View: When you press this control – which looks like a small arrow pointing upward – you switch to Max View. output and record devices. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the track’s volume. Or. Negative numbers (such as -100) denote a left pan. All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window.256 CHAPTER 13 Navigating the Multitrack View Track Properties Checkmarking this item displays Adobe Audition’s Track Properties dialog. measured in percentage. measured in dB. You can also set the track’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. where you can adjust parameters for a selected track’s volume and panning. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume. . you may detach it and have it float above Adobe Audition’s main window. The Track Properties Dialog in default Tabs view Here are the major components of the Track Properties window: • Track Tabs: The first time you click on any track in Adobe Audition’s session window. The Track Properties window is dockable. You may also specify the track’s volume by directly entering the desired dB value in the text box above the Volume Slider. Moving the slider to the left (or clicking on the arrow at the left of the slider) reduces the volume of the right channel. You may rename the track by highlighting the text in this field and typing over it. press the Restore control – the small arrow pointing downward. a tab is added for that track to the Track Properties window. The “X” control to the immediate right of the Max View control closes the active tab.

If your system has more than one recording device. Each block in the track is highlighted. with all wave blocks to the right of the selected region shifted to the left. and the silence inserted. Right Only. You can adjust the EQ level of one of these fields by left-clicking on it and dragging. For more equalization control. you can select it from the dropdown list. Wave blocks will be split if necessary. • Effects: Press the FX button to bring up the Effects Rack for that track. Insert/Delete Time Dialog . hold down the Ctrl key while clicking on the solo buttons of all tracks you wish to put into solo mode. Dragging to the right increases the number. To do this.ADOBE AUDITION 257 User Guide • Output: The item shows where the track will be output to. • Solo: This button solos the track so that only it will be heard on playback. this command selects all blocks in the current track. or Stereo. If you have more than one output device in your system. If Delete is chosen. such as a sound card or bus. • Record: This button arms the track for recording. You can left-click and drag on these boxes to adjust these percentages. • Mute: The Mute button silences the output of this track. An Adobe Audition session can contain a mix of 16-bit and 32-bit tracks. Press the master record button in the transport controls to start recording. All other tracks are muted. • Record: The device (such as a sound card) that this track will record through to is shown here. this button locks the track. you can select it from the dropdown list. Insert will shift all material (wave blocks or parts of wave blocks) right of the cursor position to a location after the time amount. More than one track in an Adobe Audition session can be muted at one time. more than one track may be soloed. • Bit Depth: Here’s where you select whether you want the track to be 16 bit or 32 bit. or to cut the selected area out of the session (Delete). while dragging to the left reduces it. the Wet and Dry percentages are shown here. Note: Despite its singular name. • Channel: Use this dropdown list to decide if you want this track to be Left Only. • Bus: If you’ve added this track to a bus. Insert/Delete Time Use Insert/Delete Time to introduce an amount of silence into the session (Insert) at the cursor location. Mid (“M”). go to View > Track EQ. • EQ: The Low (“L”). and High (“H”) equalization values of the track are displayed in these three fields. the highlighted area will be removed. • Lock: If the track has one or more real-time effects applied to it. Select All Blocks in Track As you’d expect.

The Block Context Menu for a Wave Block Edit Waveform This command immediately displays the selected wave block in Adobe Audition’s Edit View so that you can edit it.258 CHAPTER 13 Navigating the Multitrack View Block Context Menu Right-clicking on a block in the Multitrack View session window will invoke the Block Context menu. Wave Block Looping Dialog . video. or MIDI) selected. The items that appear on the Block Context menu will vary depending upon the type of block (waveform. Loop Properties Select this command (which is only available on the Block Context menu when you right-click on a wave block) to see Adobe Audition’s Wave Block Looping dialog.

• Key: Use this dropdown menu to enter the waveform’s key. with no spaces between looping instances. you’ll always want to lock position to tempo. the loop will be stretched to match. if you play a 100 bpm loop in a 120 bpm session. • Fixed Length: If this option is chosen. the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo. then the file will play at the bpm specified in the blank above regardless of the session’s tempo. Medium. If you change the number in the Repeat every X seconds field. High. • Follow session tempo: When this is checked. Four options are offered. . • Resample will cause Adobe Audition to resample the loop to match the session's tempo. • Tempo Matching determines how (if at all) the loop will stretch to match the session’s tempo.ADOBE AUDITION 259 User Guide • Enable Looping: When this box is checked. • Simple Looping (no gaps): With this option chosen. Medium. the file plays at the session’s tempo no matter what its native tempo was. When you fill in the Number of Beats field above. • Looping: Use these options to determine the looping method. the file won’t be stretched to match tempo. and Low Quality options are available. • Tempo is the number of beats per minute in the waveform. Adobe Audition will stretch the file to force a loop to complete in the specified number beats. the wave block will loop continuously. If you change the number in the Every X beats field. • Time-Scale Stretch: Select this option to stretch the file (just like Adobe Audition’s Stretch effect) to match the tempo of the session. Normally if you’re stretching to tempo. When you do so. For instance. and as such. This disables the “bpm” field above. Normally you’d want to have this option selected and enter the number of beats in the Source Waveform Information area below. Adobe Audition ignores the tempo of the file and stretches the file to force it to finish its loop every X seconds. the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo. and the percentage of Frame Overlapping. But you may have a one-shot type wave that’s not a loop (like a thunder clap or a gong) and want it to start in time with other music that’s aligned to the session’s tempo. the block is moved so that it starts at the same beat. Source Waveform Information Choose among these options: • Number of Beats: Enter the waveform’s number of beats in this field. If you don’t have this checked. all instances of that waveform will be pitch shifted to match the multitrack session’s key as specified in View > Session Information. the pitch will be affected. or Low). However. • Repeat every X seconds: If the wave block already has loop info entered. • Repeat every X beats: If the wave block already has loop info entered. • Lock position to tempo: Checking this box locks the left edge of the block to the bar/beat. If you specify a key for a waveform. the wave block can be looped by dragging the right edge of the wave block. the Tempo value is automatically calculated. So if you change tempo. Options are provided for Quality (High. the BPM (Beats Per Minute) is automatically calculated and entered into the Tempo box below. you’d normally want to have Repeat every X beats selected and enter the number of beats in the Source Waveform Information area below. Frame Size (the number of splices per beat).

That is. Otherwise. allowing you to move between them. • Adjust ALL loop-enabled blocks that use this wave: Check this box to globally change the settings for all blocks that reference the same waveform. Adjust Wave Volume This command displays a small floating window which includes a slider for adjusting the block’s overall volume. you can change them in the fields provided. preserving the previous waveform. Material is not overwritten when recording into an existing waveform block. . Instead. You may also adjust the block’s volume by entering a decibel value in the box above the slider. preserving the previous waveform. like drums. merge them back into the surrounding material they once belonged to. • Take List: This is a list of takes available as alternates for the selected waveform block. enter the number of half-steps in this field. Punch In takes are automatically deleted when Merge Current Take is selected.wav in the session will be adjusted as well. while moving the scroll control downward reduces the volume. Dragging the slider’s scroll control upward raises the block’s volume. the Auto-Find beats option will be selected. Take History The Take History function is available for any track that has Allow Multiple Takes enabled. of the block is created and recorded into. a new instance. where positive numbers raise the pitch by half steps and negative numbers lower the pitch. With multiple takes. With Allow Multiple Takes disabled. Instead. or “take”. the other three instances of drum. recording is done into the same spot each time. delete them. deleting it from your hard drive. if you have drums. a new instance. Take History is simply a list of each of these instances. you may elect to use them. Note: Each take exists as an actual waveform on your hard disk. or “take”. This only works on loops that have very sharp (short duration) sounds. and you modify the loop properties on one of its blocks. • Merge Current Take: Choose this command to merge a take completed with Punch In back into the surrounding material. and will take up drive space until deleted. • Transpose Pitch: If you want to transpose pitch of the looped block.260 CHAPTER 13 Navigating the Multitrack View • The Beat Splice option actually tries to cut up the file at the beats to loop the file that way. Negative and positive numbers are both valid. • Delete Current Take: This removes the selected take.wav inserted into the Multitrack View four times. Allow Multiple Takes With this option enabled. and in the case of a Punch In. a Take History is preserved for the selected waveform in the event that it’s recorded over. Note: The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area. of the block is created and recorded into. If the default values of 10dB and 9 milliseconds aren’t satisfactory. material isn’t overwritten when recording into an existing waveform block. If the waveform already has beat markers.

while each block within the track has an individual volume setting. Dragging the slider’s scroll control to the right pans the block to the right. while moving the scroll control to the left pans the block to left. while each block within the track has an individual pan setting. Pan Control Note: Each track has a global pan setting. Adjust Wave Pan Use this command to display a small floating window which includes a slider for adjusting the block’s overall pan. Wave Block Properties This command displays Adobe Audition’s Wave Block Properties screen. Wave Block Properties Dialog . which can be used to adjust several of the wave block’s parameters.ADOBE AUDITION 261 User Guide Volume Control Note: Each track has a global volume setting. You may also adjust the block’s pan by entering a value from –100 (hard left) to 100 (hard right) in the box to the right of the slider. This command only appears on the Block Context menu when you’ve right-clicked on a waveform.

262 CHAPTER 13 Navigating the Multitrack View • Volume: Use this vertical slider to adjust the wave block’s amplitude. The top field is editable. • Pan: This horizontal slider is used to pan the wave block to the left or right channels of your stereo mix. A value of -100 is a hard left pan. while values of 99 and under slow down the MIDI block’s tempo. If you want to hear all of the MIDI block’s tracks. Transpose (MIDI Block Only) Use this command and its submenu options to transpose the key of a MIDI block up or down by up to 7 steps. it will actually change the filename when that block is saved back out. Set Tempo (MIDI Block Only) The command displays the Adjust MIDI Tempo box. while 100 means the block is panned all the way to the right channel. • Mute: When this box is checked. You can edit this value directly by highlighting the numbers in the field and typing over them. Check the Use session tempo box to use the tempo value already specified in View > Session information. Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom. Non-muted blocks in that track will play as normal. Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played. . all the values are displayed on scale with the 127 note values. You may also directly designate the block’s pan value by entering it into the box to the right of the slider. which gives you lots of extra space in the block. You can also enter a hue value from 0 to 255 directly in the field over the Hue slider. You can also directly specify a dB value in the text box above the slider. If you select Zoom Out. However. thereby moving the wave block forward or backward through the track. with 100 being the default (no change in tempo). Values over 100 speed up MIDI playback. • Time Offset: This field shows how far the beginning of the wave block is from the starting point of your session. • Filename/Path: The name of the wave block (which is initially its filename minus the extension) and the path of the wave block are shown in these two fields. checkmark the All item. Active Track (MIDI Block Only) This command’s submenu lists all of the tracks in the MIDI block. so you can change how the wave block’s name is shown in the session. • Lock in Time: Check this box to prevent the wave block from being moved forward or backwards through the track • Lock for Play Only: This option prevents the wave block from being recorded over. • Hue: Adjust this slider to change the color of the wave block. By default. the block’s sound is turned off. where you can make changes to the tempo of the MIDI block using the Tempo field provided. The value used is percentage. Adjust MIDI Tempo Dialog Zoom in/out (MIDI Block Only) There are 127 note values that a MIDI note can be assigned to. which disables the Tempo field.

so this is the method by which you could save back out a video block with a new soundtrack. The MIDI Controller 7 dialog Save Mixdown to Video As (Video Block Only) When this command is selected. This new waveform is automatically placed in the Edit View’s Wave Display. Group Color This command invokes Adobe Audition’s Group Color dialog. This option just lets you change the controller value directly in case you have a MIDI file whose Controller 7 value is too low or high. and then the video stream from the original video block provides the video stream. Mix Down to File Running this command (which is only visible when two or more blocks are selected) will mix the selected blocks into a new stereo waveform. That is. The original video stream is actually untouched. which is automatically placed in the Edit View’s Wave Display. a new video file will be created where all of the audio which is concurrent with the video block is mixed down and provides the soundtrack. Grouped blocks are designated by a different color than ungrouped blocks. This feature is fully documented in the “Edit Menu – Multitrack View” chapter. which allows you to change the color of the current group of blocks. Note: The Block Context menu’s Group Color command is only displayed when you have blocks that have been grouped.ADOBE AUDITION 263 User Guide Set Controller 7 (MIDI Block Only) The Controller 7 value for a MIDI file is the master volume setting. as well as a special circular symbol overlaid each block. Group Blocks This option will group any selected blocks together. This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at. Select from one of 32 preset hues by clicking on it. You may also use the slider to find a color. the audio session will be mixed down with the loaded video file to create a new soundtrack for the video. Group Color Dialog . Mix Down to File (Mono) Run this command (which is only show when multiple blocks are selected) to combine the selected blocks into a new mono waveform. or you can directly enter a hue value from 0 to 255 in the field provided.

Punch In will work on one or more waveforms at a time. while material in-between these points is replaced with (hopefully) a better take. you can switch back to Adobe Audition’s Edit View and use the Find Beats. This essentially acts as a selective undo function. you can continue on (as though nothing had happened) and record over the mishap at a later time – this process is known as a “punch in”. it’s not uncommon for a note or words to be missed or totally screwed up. No big deal! You can either stop and pick up from before the mishap. When finished. The session will begin playback. or you can directly enter a hue value from 0 to 255 in the field provided. • You can position the playback cursor sometime before the Punch In location and press the Record button. This will enable the selection for record and put the track into record mode. Use the desired Merge Take command on the right-click menu when you’ve decided among them. you can continually record over the original material and afterward choose between the best performance. and upon hitting the Punch point. For an exact selection. Adobe Audition allows for multiple takes when Punching In. • Choose Punch In from the Edit menu. which allows you to change the color of the current block. Select from one of 32 preset hues by clicking on it. Note: Whenever one or more Punch Ins has been performed within a wave block. you can monitor the different takes by right- clicking on the waveform block and choosing them from the Take History menu option. Zero Crossings. will record into the selected area. . Punch In is a recording technique used to replace a section (perhaps a mistake of some kind) in an existing track segment. You may also use the slider to find a color. Or. To use Punch In: • Highlight the area of the waveform block (or blocks) you would like to Punch into.) The Take History option lets you revert the waveform block back to any previously-available take level. a Take History option will be activated. and Snapping functions to make your selection. Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio. or from the menu that appears when you right-click on the waveform block. you can take another pass at the Punch. Block Color Dialog Punch In When a particularly difficult passage is being recorded. or return to the original data. (Punch Ins and Take History are both available by right-clicking on the wave block. allowing you to choose any change level between its original un-punched state and the current waveform level. • After recording. and then switch back to Multitrack View.264 CHAPTER 13 Navigating the Multitrack View Block Color This command invokes Adobe Audition’s Block Color dialog.

Choose Crossfade from the Edit or right-click menu to specify a different crossfade type. Logarithmic will fade the amplitude of a signal at a constant rate. you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left-clicking on the desired wave blocks. Waveforms to crossfade between should be positioned in different tracks (or can be in the same track. in a back-to-back manner). adjacent if possible. and Sinusoidal for a curved. The highlight should extend a bit beyond the end of the waveform(s) to fade from. which can be specified in the field provided. or if you wish them to be evenly spaced by a certain amount. (You can also adjust the highlight by holding the Shift key down when doing a left-click near the edge of the selection. If possible. make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade. depending on whether you are fading in or out.) After establishing a highlighted area. Three main types of crossfades are available. . enter the number of times you’d like to create an Image of the waveform block. This will make it easier to achieve a natural sound. Or. Note: The Crossfade toolbar button uses Linear fades by default. and should start a bit before the beginning of the waveform(s) to fade to. sine-like slope to the fade. Loop Duplicate Dialog • Repetitions: In this field. as if it were all one take. a loop of the waveform. Decide if you want no gaps between each duplicated waveform block. the highlight will easily adjust itself to the beginnings and endings of the waveforms. Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating. Next. Choose Linear for an even grade. They do so by creating a fade out and a fade in over the transition region. Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another. in effect. • Spacing: Two options are provided here. To crossfade. Modify the fade curves created with Crossfade by enabling the Show Volume Envelopes and Enable Envelope Editing options in the View menu. producing a steeper slope at one end of the fade.ADOBE AUDITION 265 User Guide Note: You can’t use Punch In on video or MIDI blocks. if Edit > Snapping > Snap to Blocks is enabled. choose Edit > Crossfade (or Crossfade from the right-click menu) and the type of crossfade you want to do to crossfade between the selected waveforms. choose sections of the waveform where there are gaps in the audio for your Punch points.

Convert to Unique Copy This command creates a copy of the selected waveform block. while the same sound placed in your verse can be dry). set them to 100%. the combined waveforms will increase the track's overall level in the mix and could cause clipping). small amounts to create phase shifts (small time offset). For effects that have wet/dry balancing.). Images have the advantage of not consuming any disk space. (With Images. (The original waveform that you copied will provide the dry element. hold down the Shift key and right-click on the waveform and drag it to make an Image. From there.). to soften the echoes (also. or close to 100% wet. identical to the original in size and disk space consumption. for example. This way it will simultaneously playback both original file and the effected one. so the result is primarily effect. Creating a copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform (you can add reverb to the one placed in your intro. it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once. one for Reverb. to the right of the original. you can add a Flanger effect to one instance. Repeat this operation for other effects to have separate control over a number of effects (one for Flange. etc. or pan right and left. 4 You can then vary the effected waveform’s (and the original’s) volume and pan envelopes to bring the wet/dry in and out.266 CHAPTER 13 Navigating the Multitrack View To use the Loop Duplicate function to create interesting time delay effects: 1 Start by placing the source waveform into the Multitrack View.) 3 Insert the processed copy into the multitrack environment. and depending on the situation. shifting each Image slightly more to the right. You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time. you can use File > Save As… to create a copy of the file that can be transformed using any Effect function. double-click on it (which will open the waveform in the Edit View window). larger amounts to create delays (15-50 ms offsets) or echoes (50 ms or greater offsets). 2 Once a copy of the original file has been made. Try reducing the volume levels slightly for each Image. placing the delayed Images at every beat. The Image should be placed onto a new track (such as below the existing track). 2 Once entered. You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations. or by saving the file under a new name using Save As in the Edit View. The newly processed file can then be placed into the multitrack environment. and all 30 instances. To add multiple effects to an existing waveform non-destructively in Multitrack View: 1 Create a copy of the waveform using Edit > Convert to Unique Copy. add any processing or effect you like to it. . To quickly add an effect to a waveform block within the Multitrack View. 4 Repeat this any number of times. shift the Image in time. in a different track. placing it into an adjacent to the original. for example would be flanged. Copying a waveform block in the multitrack environment (as opposed to creating an Image) will create a separate audio file on disk. 3 Next.

allowing you to move it between tracks. and in the same track as the original segment(s). . deleted. with a 5 second waveform block. it does not alter the waveform on disk. Split The Split command functions similarly to a traditional tape splice. Lock in Time Lock In Time “locks” selected waveforms to their current time location in the multitrack session. the marked waveform will not be recorded over. After highlighting to define an area to adjust to. or selection (in this case the selection will be spliced out). To unlock a waveform. and don’t want to accidentally move the waveform when right-clicking on it. provided that the split segment sits at the same relative location as where it was split from. The Merge/Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform. The cut is performed at the current cursor point. highlighting the middle second and choosing Adjust Boundaries will trim off the surrounding material (the first two seconds and the last two seconds). for example). For example. Once a block has been split. the file is rewritten with the new material. Locked waveforms are identified by an overlaid graphic of a circled padlock. you can highlight the middle second plus a little to the right. Note: This merge operation is destructive in that it does alter your sound file (when rejoining a Punch In segment. it “cuts” the waveform. segmenting it into parts. for instance. Splitting a waveform is non-destructive. Muted blocks are ignored during playback and mixdowns.ADOBE AUDITION 267 User Guide Mute Block This command mutes or unmutes the selected blocks. thereby lengthening the waveform block. or slid in time independently of the other segments. any material in the waveform block that lies within this highlight will be retained or exposed. Adjust Boundaries This function will adjust the boundaries of the selected waveform block either inwardly or outwardly. Locking a waveform is useful when you’ve decided upon its position in time. which disables all waveforms within a track. Align Right Click the Align Right command (which is only visible when two or more blocks are highlighted) to make the right-hand edges of all highlighted blocks the same as the right-hand edge of the last block you highlighted. This is signified by the waveform block not turning red when the track is record-enabled. leaving just the middle second. simply select it and choose Lock in Time to free it for horizontal movement. it may be vertically repositioned. The boundaries of the segments are joined together using a 30 millisecond crossfade. Lock for Play Only This command disables the ability of a waveform block to be recorded into. removing that which is outside of the highlight (or including material inside the selection that is not currently revealed). and are displayed as “grayed-out”. If you decide you’ve trimmed off too much. While a waveform which has been locked can’t be moved in time (left or right). Even though the track that the playback-locked block resides in may be record-enabled (it has the red “R” button on the Track Console depressed). This command is different than Track Muting (which occurs when you press the Mute button in the Track Console area). each segment can be moved. Align Left The Align Left command (which is only accessible if two or more blocks are highlighted) to make the left- hand edges of all highlighted blocks the same as the left-hand edge of the last highlighted block. and again choose Adjust Boundaries to bring back that little bit to the right. Merge/Rejoin Split Merge/Rejoin Split recombines a split segment of a waveform block with the original surrounding material.

Trim. Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. this Cut command does not remove any data from the actual waveform. You may return any trimmed waveform to its original state at any time by selecting it and choosing Edit > Full. full state. use Edit > Trim instead. Note: Unlike Cut in Adobe Audition’s Edit View. Trim differs from Adjust Boundaries in that Trim won’t reveal any material within a highlighted region. so this may result in having more than one instance of the same waveform block portion throughout a session. highlighting the middle 1 second. Full This option returns any selected waveform block that has been modified with the Adjust Boundaries. use Ctrl+Shift+Backspace. switch back to Multitrack View (the highlight will be retained) and choose Adjust Boundaries to have the waveform block readjust to match your highlight. You may return any Cut waveform to its original state at any time by selecting it and choosing Edit > Full. Remove Block This command removes the selected (highlighted) block from a multitrack session. or Cut (while in Multitrack View) will be replaced. Using Cut in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. All material will be removed from the selected waveform block except the portion within the highlight. using Adjust Boundaries to trim doesn’t remove any data from the actual waveform. then zoomed out to adjust the highlight boundaries to your satisfaction. if track 3 contains a waveform that is 5 seconds in length. Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. Note: Unlike the Trim command in Adobe Audition’s Edit View. selecting it. . or Cut commands to its original. you could also have double-clicked on the trimmed block to bring up the Edit View. Removed waveforms will still be available in Adobe Audition’s Edit View. leaving the 2 second portions on both sides. You may return any trimmed waveform to its original state at any time by selecting it and choosing Edit > Full. Note: Selecting Full for a waveform block when its segments have been moved will return any missing material at that location. To destroy the waveform without being prompted to save. If you want to remove unwanted material around a highlighted region.268 CHAPTER 13 Navigating the Multitrack View Note: To fine tune your adjustments in the preceding example. They’re also available to the session via Insert > File/Cue List until the audio files are closed from the File menu. this version does not remove any data from the actual waveform. and places nothing on the clipboard. Use the Shift+Backspace hotkey to quickly destroy a block. Note: Unlike the Trim command in Adobe Audition’s Edit View. and close the waveform. Trim This Trim command works in the same fashion as Trim in the Edit View. Destroy Block (remove & close) This will remove the selected waveform from the multitrack session. double-clicked to highlight the displayed area. Trim will only remove that which is outside of the highlight for the selected waveform block. When finished. For example. and choosing Cut will remove the middle 1 second. Any material removed using Adjust Boundaries. Cut Cut will remove the highlighted portion of a selected waveform. You may also trim an area using the Adjust Boundaries command. Trim. Use Trim to remove unwanted material around a selection.

You want to apply a bit of compression to those tracks to give them a more punchy sound. you can add the four tracks to their own bus and then apply the reverb to the bus. (The button says “Out 1” by default. 4 Press the Properties… button to display the Bus Properties dialog. (Notice how the track’s Output button now shows the letter of the bus. and equalization properties. 5 Use the Bus Properties dialog to give the bus a friendly name and change its output device if desired. as well as assign any Real-Time Effects to the bus. a bus is “an electrical conductor that makes a common connection between several circuits”. 2 In the bottom part of the Wave tab of the Playback Devices dialog you’ll see a list of existing Busses. Up to 26 buses may be created.) About Real-Time Effects Adobe Audition offers three types of effects: Real-Time. About Busses Adobe Audition gives you the ability to organize multiple tracks into busses. 6 Press OK to close the Playback Devices dialog. just one bus – “Untitled Bus (A)” – will be listed.ADOBE AUDITION 269 User Guide Envelopes Use this command’s submenu options to clear the Volume. Since they’re non-destructive. Real-Time Effects may be used like Off-Line Effects in Adobe Audition’s Edit View. or FX Mix envelopes from the highlighted portion of a selected block. which is especially useful for adding one or more real-time effects to and/or adjusting the gain for a common group of tracks. pan. Let’s say you’re recording a song that has four tracks of background vocals. Pan. If it’s the first time you’ve used busses in Adobe Audition. a bus lets you make a common connection between several tracks.) 3 Click on the name of the bus you wish to add the track to. Press OK when you’re done. In the case of Adobe Audition’s Multitrack View. plus add some reverb. . Sometimes it’s more convenient to group two or more tracks together into a bus in order to apply real-time effects or give the tracks the same volume. (You can press New Bus… to add another bus to the list – up to 26 if you want. Real-Time Effects have parameters that may be adjusted while listening to the results as part of the mix in the Multitrack View. In addition. as well as uses spline (curved) envelopes instead of Adobe Audition’s default envelope style (which has straight lines between the envelope’s control points). Instead of processing each track separately (which might have a significant drain on your computer’s processing speed).) This will display the Playback Devices dialog for the track. How to assign tracks to a bus Adobe Audition provides several ways of assigning tracks to busses. and Multitrack. Off-Line. but here’s the easiest: 1 Press the Output button in the Track Controls. they don’t actually change the physical sound files in the tracks they’re applied to. The dictionary states that. electronically speaking.

Real-Time Effects include: • Amplitude: Channel Mixer. Multitap Delay. Quick Verb. and Normalize • Generate: DTMF Signals. The Organizer Window Way: 1 If you don’t have the Organizer Window open. but here are the two most common. Hard Limiting. Full Reverb. and Parametric Equalizer • Special: Convolution and Distortion • Time/Pitch: Stretch Off-Line Effects include: • Amplitude: Amplify. 2 Click on the Effects tab of the Organizer Window. press the F9 key to display it. (Don't worry – if Undo is active. Graphic Phase Shifter. Notch Filter. and Tones • Filters: FFT Filter. and Sweeper Phaser • Filters: Dynamic EQ.) . Dynamics Processing. Quick Filter. and Scientific Filters • Noise Reduction: Clip/Pop Eliminator. Dynamic Delay. Pan/Expand. Off-Line Effects are destructive. You’ll need to switch to Edit View before you can apply them. Hiss Reduction. but not in real-time. Flanger. (Notice that the names of the non-Real-Time Effects are disabled or “grayed out”. and Noise Reduction • Special: Binaural Auto-Panner • Analyze: Statistics • Time/Pitch: Doppler Shifter and Pitch Bender Multitrack effects include: • Envelope Follower • Frequency Band Splitter • Vocoder Assigning a Real-Time Effect to a track There are several ways to add a Real-Time Effect to a track. Envelope.) Multitrack Effects may only be used in the Multitrack View. Graphic Equalizer. and Stereo Field Rotate • Delay Effects: Chorus.270 CHAPTER 13 Navigating the Multitrack View Off-Line Effects can be used on waveforms that are part of a Multitrack Session. Clip Restoration. Reverb. 3 Choose the desired Real-Time Effect from the list. Echo. Echo Chamber. Insert Audio From CD. Delay. Noise. which means they always physically change the waveform they’re applied to. you can easily reverse the “destruction”.

ADOBE AUDITION 271 User Guide 4 Hold down your left-mouse button and drag the effect over to the track. Dynamic Delay. . 2 Choose the desired effect from a list of installed Real-Time Effects in the left column. The Track Controls Way: 1 Press the FX button for the track you wish to apply a Real-Time Effect. most of the time the control layout is even the same. 3 Press the Add . They take on the visual characteristics of the main Adobe Audition interface. However. 6 Press OK when you’re finished. there are two notable exceptions: • The Stretch effect only does pitch shifting in real time as a track effect. not tempo stretching. Functionally. In fact. as opposed to the more traditional Windows look. • The Dynamic EQ. and Pan/Expand effects have their envelopes directly on the wave blocks instead of having separate controls to draw the envelopes on. This will cause the Effects Rack dialog to appear. as well as the amount of Wet/Dry mixing of the track’s effect. 4 Highlight the effect’s name in the left column and press the Properties… button to set the effect’s parameters. allowing you to adjust the properties for the effect you’ve just added. About dialog boxes for Real-Time Effects When you work with Real-Time Effects in Multitrack View. the Real-Time effects are the same as their Edit View versions. Almost always they match up control for control with their non-real-time counterparts in Edit view. 5 Press Apply if you want to add another effect to the track. the Track Effects dialog will appear. 5 When you release your mouse button.> button to add the effect into the Current Effects Rack (the left column) for the track. you’ll notice that the look of their dialogs is a little different from the way they appear in Edit View.

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Popular sample rates are already listed. mix/pan parameters. and otherwise manipulating session files. This information includes audio file placement. empty session. About Sessions An Adobe Audition “session” uses session (*. . Or. or be converted upon inserting them. you’ll be prompted to specify its sample rate. Only one session can be active at a time. and more. saving. Any audio files to be used in a session must share these properties. It’s important to keep your waveforms intact and within their original folder. All of your multitrack masterpieces are saved to and recalled from disk as a session file. Session files don’t contain their associated waveforms. Higher sampling rates mean a wider bandwidth. keep in mind that most sound cards only support certain sample rates. Note: Keep in mind that your session files save just the information that relates to a current multitrack project. just click on one to select it. mute/solo settings. New Multitrack Session dialog Sample Rate This value determines how many frequencies can be encoded in the audio signal. When creating a new session. However. where you record or insert audio into multiple tracks. enter a custom number in the Sample Rate box to specify a different rate from those provided.ses) files and their specific structure to save all of the information that relates to a current multitrack project.273 Chapter 14: File Menu – Multitrack View T he File menu in the Multitrack View offers functions relating to opening. New Session This command creates a new.

Entering *.ses) file. if it resides in the current folder. selecting the All files (*. such as *. Show File Information If this item is checked.ses. Look in Use this drop-down list to navigate through all available drives and folders. The selected session must have the same sample rate and bit resolution as the session to be appended to. allowing you to load an existing session (. along with all audio files used in the session.extension (such as *. Files of type Use this control to filter the display of files in the current folder to a specific type of supported session file. if the currently open session has material in tracks 1-4. As you’d expect. Append to Session This command opens an existing session and all of its associated audio files. Open Session dialog Here are the components of the Open a Multitrack Session dialog: Recent Folders The most recently used folders are displayed here in a drop-down menu.*) listing displays all files in the current folder. then using Append to Session… to open another four track session would place the new material into tracks 5-8. The Append a Multitrack Session dialog is virtually identical to the Open a Multitrack Session dialog. along with the sampling rate and number of tracks used. For example.ses) displays all files with that extension in the open folder. you’ll see all the waveforms referenced by a session in the Component Files list. This allows quick access to frequently used folders. File name Here’s where you may specify the name of the file you desire to open. and begins track placement at the end of the currently open session.274 CHAPTER 14 File Menu – Multitrack View Open Session This function launches the Open a Multitrack Session dialog. .

If the session doesn’t yet exist as a file (not previously saved). Close Only Non-Session Waveforms Select this function to close all waveforms that aren’t being used in the current session. You’ll be prompted so save any modified (but unsaved) waveforms. the appended waveforms can easily be moved into place by actively selecting the desired waveforms and by right-clicking on any one of them and then dragging them into position. you’ll be presented with the Save Multitrack Session As window first. .) Once loaded. You’ll be asked if you would like to save the session if you’ve made any modifications since the last save. all of the tracks will load in at the project from its beginning point. but adds useful Adobe Audition-specific features. and also closes all waveforms used in that session. Appending the desired session into our current workspace (which will place them at the beginning of the timeline. plus you’ll be prompted so save any modified (but unsaved) waveforms. allowing you to select one or more audio files for listening or modification. this can easily be done using the File > Append to Session command. It looks and works similar to a standard Windows Explorer Open window (including allowing you to use the Ctrl and Shift keys to select multiple non-contiguous and contiguous files respectively). Open Waveform Use this command to load an existing waveform or CD track into an Adobe Audition editing window. You’ll be asked if you would like to save the session if modification have been made since the last save. Close Session Use this function to close the current multitrack session. overwriting the original without confirmation.ADOBE AUDITION 275 User Guide Note: You should note that the appended tracks are loaded into the session at the beginning of the project’s timeline (i. onto the next available set of open tracks) we can now select and move the appropriate session waveforms into place (often using the Ctrl-Right Click mouse command to select multiple waveforms) – and Voila – you’ve integrated two sessions into a whole new composition. let’s say that we’d like to insert an existing multitrack composition that’s been saved as a session. For example. Save Session Access this command to save the current session back to disk. If you’d like to add a previously created session to your current session. Note: More information on the Open a Waveform dialog can be found in the “File Menu – Edit View” chapter.e.. The Open a Waveform dialog appears. Close Session and Waveforms This command closes the current multitrack session.

Free space on all available drives is displayed in the right section of the window. Save Multitrack Session As dialog Here are components of the Save Multitrack Session As dialog: Recent Folders The most recently used folders are displayed here in a drop-down menu. Save copies of all associated files If this item is checked.ses” to the filename when you save it. File name Here’s where you specify the name of the session. The default is *.ses file. copies of all files used in the session (including waveforms) will be saved in the same folder as the .276 CHAPTER 14 File Menu – Multitrack View Save Session As The command brings up the Save Multitrack Session As dialog. Look in Use this drop-down list to navigate through all available drives and folders.*) listing displays all files in the current folder. the Options button is enabled. . You’ll be prompted to save any modified (but unsaved) waveforms. As you’d expect. Pressing it brings up the Session Save Copies of all files Options dialog. selecting the All files (*. allowing you to save the current session to a new name or location. Adobe Audition will automatically add the “. Files of type Use this control to filter the display of files in the current folder.ses files. along with all waveforms used in the session. This allows quick access to frequently used folders. Options When the Save copies of all associated files box is checked.

location. which lets you choose the format to save the files to. which lists many commonly-used sample rates. Remember these settings for next time Check this box if you wish Adobe Audition to always use the Save all copies in this format and Convert Sample Rate settings each time. Convert Sample Rate Checking this box enables the drop-down menu to the right. which is essentially identical to the Edit View’s Convert Sample Type control. or format. If the chosen format has options. allowing you to adjust format parameters. . Press it to display Adobe Audition’s Waveform Conversion Options dialog. Chose the sample rate you wish to convert your session files to. You’ll also use the File > Save Mixdown As… function to save newly-constructed mixdowns to disk.ADOBE AUDITION 277 User Guide Session “Save Copies of all files” Options Session Save Options dialog Save all copies in this format Check this box to activate the drop-down menu below. It also enables the Conversion Properties… button. which allows you to save the current mixdown to a new name. Save Mixdown As This command brings up the Save 16-bit Mixdown To or Save 32-bit Mixdown To window (depending on if you’re working in the 16-bit or 32-bit realm). Free space on all available drives is displayed in the right section of the window. the Format Properties… button will be enabled.

Adobe Audition also warns you if you’re trying to save a waveform to a compressed (lossy) format. Recent Folders This shows the most recently used folders. Some formats can’t be written to using waveforms of certain sample types. such as Windows PCM (*. If you don’t want to see this dialog box again. the Options button is disabled (“grayed out”).mp3). Adobe Audition asks you if you want to convert before saving. In this case. Save extra non-audio information Uncheck this box if you don’t want to save header fields such as copyright and author information. Save in Use this control to navigate through all available drives and folders. Some CD recording interprets non-audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track. Options Most audio file formats support various options. . File name Here’s where you specify the name of the file.) Press the Options button to bring up a window to select the desired settings. If the format doesn’t have any options. unchecking the box is highly recommended. Save as type Use this control to choose the format you wish to save from the drop-down list of supported file types.278 CHAPTER 14 File Menu – Multitrack View Save Mixdown As dialog Here are the major components of the Save Mixdown As dialog. Select from the drop-down box to quickly navigate to a listing. and suggests that you keep a backup of your original file if you wish to preserve full audio fidelity. Note: If you plan to burn the waveform to compact disc using another program. check the Don’t display this message in the future box. (See the “Waveform File Formats” chapter for more infor- mation.wav) or MPEG 3 (*.

so you may not see this window unless you manually call it from the File menu. or format. select Set Current Session as Default from the Default Session submenu. Note: While Adobe Audition can open other types of movie files to get at their soundtracks. You might want to do this because of specific device assignments or session master volume settings.avi video file inserted into the session. which allows you to select the audio format for the . the ability to save back the audio track only works with . This command brings up the Save 16-bit Mixdown To Video or Save 32-bit Mixdown To Video window (depending on if you’re working in the 16-bit or 32-bit realm). modified waveforms to disk. you can mix down the session and make that your audio track for the video. Select Clear Default Session from the Default Session submenu to make Adobe Audition “forget” the previously saved session template settings. The Save Mixdown To Video window is nearly identical to the Save Mixdown As window previously documented. as well as your open. Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition’s use of the space on your hard drive(s). . the Options… button brings up the Installed Audio CODEC window. which allows you to save the current mixdown and video to a new name. (If the current session contains blocks which may not exit in the future. Default Session If you’d like to make the current session the template for future sessions. The window also automatically appears when available hard drive space nears zero kilobytes. Adobe Audition will ask you if you still want to use the session for the default layout. location. including the instances of Undo for each waveform. However.avi files. Adobe Audition’s undo levels are cleared regularly. Save All Run the Save All command to save all open.) The template session will be loaded every time a new session is created.ADOBE AUDITION 279 User Guide Save Mixdown To Video As If you have an . modified session.avi file. Note: More information about the Free Up Space in Temp Files dialog can be found in the “File Menu – Edit View” chapter. If your system has lots of available free hard drive space.

280 CHAPTER 14 File Menu – Multitrack View MRU List The Most Recently Used list displays the last nine session files opened in Adobe Audition. Exit As you’d expect. type the number that’s associated with the desired Session. you’ll be asked if you want to save them. this command closes Adobe Audition. Or. If the session has been modified. . or are any edited audio files that are open that haven’t been saved to disk. All temporary files that Adobe Audition has created are deleted as well. You can quickly open any of these files (providing they haven’t been deleted or moved) by selecting it from the list with your mouse.

The only time this envelope is applied is within Adobe Audition’s Multitrack View. Note: Pan Envelopes are nondestructive. this button’s appearance changes to let you know that if you push the button. and then back to center Note: To change a pan envelope. you’ll go to the Edit View. Edit Waveform View This command switches to Adobe Audition’s Edit View mode. and the bottom is hard right. For example. there must be a checkmark next to Enable Envelope Editing (further down the View menu). meaning they don’t affect the original audio file in any way. Show Pan Envelopes Checkmark this option to show the Pan Envelopes for each block in the session display. Pan envelopes appear as a vertical blue line through the center of the block and represent the sound file’s left/right stereo placement – the top of the block is hard left.ADOBE AUDITION 281 User Guide Chapter 15: View Menu – Multitrack View T he View Menu displays options that relate to change the display or viewable area when in the Multitrack View mode. then hard right. Therefore. A wave block with its Pan Envelope set to pan hard left. Volume envelopes appear as a green line that initially goes straight across the top of a block. Show Volume Envelopes Select this option to show the Volume Envelopes for each block in the Session Display. where individual waveforms may be modified. while the bottom of the block represents full attenuation (silence). Pressing the leftmost button in the Multitrack View File toolbar takes you to Edit View mode. A wave block with its Volume Envelope set to do a slow fade out starting about halfway into the block . The top of the block represents 100% (normal) application. when you’re working in Multitrack View. if you return to the Edit View or go to another application and play a sound file that you’ve applied an envelope to. The face of the View button represents the target View that the system will “jump to” when pressed. you won’t hear the envelope panning.

there will be an Automated checkbox in its settings dialog. and the most common way is by changing the volume of a sound. there must be a checkmark next to Enable Envelope Editing (further down the View menu). However. some synthesizers are programmed so that velocity changes the pitch or the harmonic content of the sound instead. they are used to change the velocity at which the notes are played back. Note: Wet/Dry Mix Envelopes overlap with the Volume Envelopes. think of a piano: it plays loudly when you bang on the keys and softly when you lightly touch them. If the envelope is at the bottom. (For instance. Therefore. if you return to the Edit View or go to another application and play a sound file that you’ve applied an envelope to. These envelopes control the wet/dry mix of the effects over time. Show Wet/Dry Mix Envelopes This command enables the display of Wet/Dry Mix Envelopes. Note: Volume Envelopes are nondestructive. Show FX Parameter Envelopes With this command checked. Note: Volume envelopes can also be applied to MIDI blocks and edited like they are on audio blocks. the track is 100% dry (which means the original track is unaffected by the effects). this may be why. If View > Status Bar > Data Under Cursor is checkmarked. Effects Envelopes appear when you apply certain Adobe Audition effects to a track. The only time this envelope is applied is within Adobe Audition’s Multitrack View. you won’t hear the envelope volume changes.) . if you find that your MIDI files sound a little stranger than normal when using volume envelopes on your MIDI blocks. there must be a checkmark next to Enable Envelope Editing (further down the View menu). and Dynamic Delay. such as Pan/Expand. Dynamic EQ. If it’s checked. To help you understand. When you add one of these effects. the signal coming out of that track is 100% wet (all effects. When the envelope is at the top. you’ll be able to see the mix percentage as you drag an envelope’s control point around. an envelope for that setting will appear. which will appear on any block that is in a track that has real-time effects.282 CHAPTER 15 View Menu – Multitrack View Note: To change a volume envelope. However. in other words). A wave block with its Wet/Dry Mix Envelope set to slowly transition from Dry to Wet over the course of the block Note: To change Wet/Dry Mix envelopes. so you might have to turn off the Volume Envelopes (uncheck View > Show Volume Envelopes) to see them. Many MIDI synthesizers are programmed to respond to velocity so that they sound more “expressive” when played. meaning they don’t affect the original audio file in any way. Dynamic Delay lets you vary Delay and Feedback over time with these envelopes.

and Effects Envelopes are placed in edit mode.ADOBE AUDITION 283 User Guide A wave block with FX Parameter Envelopes (in this case. you can simply drag control points up and down to draw the shape of the envelope. If you turn on looping for a block (right-click and select Loop Properties. Once added. Note that your mouse cursor changes when it’s over a block’s edge. If View > Status Bar > Data Under Cursor is checkmarked. you’re able to show or hide more or less of a selected wave block by dragging the block’s left or right edge. then check the Enable Looping box in the Wave Block Looping dialog) and drag the edge. . Tempo Envelopes – which are viewonly – show the MIDI file’s tempo map on the MIDI block. there must be a checkmark next to Enable Envelope Editing (further down the View menu). Wet/Dry. Block Edge Dragging can be used for looping a file. Volume. where you may click directly on the envelope line to add control points. Show Tempo Envelopes Checkmark this command to enable the display of Tempo Envelopes on MIDI files. you can still drag loops with the gripper handle that appears in the bottom-right corner of the block. Pan. you’ll be able to get visual feedback as you manipulate an envelope’s control point. Dynamic Delay) displayed Note: To change FX Parameter envelopes. or drag a control point off the block to remove it. Even if you then turn Block Edge Dragging off. Enable Block Edge Dragging When Block Edge Dragging is enabled. the file will loop as you drag. A MIDI block with Show Tempo Envelopes turned on Enable Envelope Editing With this command checked. This non-destructive action has the effect of chopping off (and thereby muting) the first or last part of the block.

Select a new key by using the drop-down list. if desired. This window is especially handy to have visible and docked when you’re working on loop-based sessions. A different time signature may be chosen using the drop-down list. You can change this figure by clicking in the field and entering a new number. because loops with defined tempos will match the specified parameters (which is most useful with matching tempo). especially if you’re working with more than a handful of tracks at once. is shown in this field. which is documented later in this chapter. which means you can reposition it at one of several places in the Adobe Audition interface. Multitrack Session Properties window Here are the components of the Session Properties window: Tempo The tempo of the session. you may detach it and have it float above Adobe Audition’s main window. which will automatically update the beats/bar field. Beats/bar This field shows the number of beats-per-bar. It gives you an alternative to Adobe Audition’s session window by providing a broader overview of your mixing project. Time You’ll see the session’s time signature in this field.284 CHAPTER 15 View Menu – Multitrack View Session Properties Click on this command to show Adobe Audition’s Session Properties window. Metronome Press this button to toggle the on/off status of Adobe Audition’s built-in metronome. Advanced Clicking on this button takes you to the Advanced Session Properties dialog. Show Mixers Window Checking this item displays Adobe Audition’s Mixers window. Click on the field to make it editable so that you can enter a new figure. . which consists of two tabbed panes – the Track Mixer and the Bus Mixer – as well as a slider that controls the master volume of your session. The Track Mixer’s interface mimics a real-world mixing console. Key The session’s key is shown here. Or. a dockable window which displays useful information about your multitrack session. measured in beats-per-minute. The Mixers window is dockable.

You’ll be surprised how often this slider will come in handy. as well as many other bus parameters.ADOBE AUDITION 285 User Guide Tracks Mixer window The Bus Mixer pane provides the controls for adjusting the output of up to 26 of the available buses you can have in Adobe Audition. you might want to dock it and resize it so that only the master volume slider is visible. . Bus Mixer window Even if you don’t use the Mixers window.

it would say “Device 2”. EQ. busses are automatically named with a letter of the alphabet. Each button corresponds to a different element of the Tracks Mixer interface. which lets you assign the output properties for the selected track. it would say “Bus C”. FX. Or. Bus. if it were set to Bus C. Pan. The button’s text changes to reflect the output device. A properties dialog for the new bus appears. By default. but you can give a bus a “friendly name” by filling out the appropriate field in the Bus Properties dialog. • New: Click on this button to add a new bus to the Busses list. if it were set to device #2. For instance. and M/S – allow you to customize the appearance of the Tracks Mixer. Playback Devices window – Wave tab Wave Tab • Devices: All of your system’s devices that are capable of playing waveforms are listed here. . L) • Pan: Shows/hides the Pan field and control • M/S: Shows/hides the M (Mute) and S (Solo) buttons Out 1 Button Pressing this button brings up Adobe Audition’s Playback Devices window.286 CHAPTER 15 View Menu – Multitrack View Tracks Mixer Tab Here are the major components of the Tracks Mixer: View Display Buttons These six buttons – Out. • Out: Shows/hides the Output device selection buttons • Bus: Shows/hides the West/Dry Bus fields • FX: Shows/hides the FX and Lock buttons • EQ: Shows/hides the three equalization fields (H. • Busses: A list of all Adobe Audition busses you’ve created is shown here. M.

Use the Bus Properties dialog (which looks very similar to Adobe Audition’s Effects Rack window) to specify and change a bus’s settings. Adobe Audition names its busses after a letter of the alphabet – such as Bus (A) – but you can easily rename a bus by highlighting the text in the Friendly Name field and typing over it.ADOBE AUDITION 287 User Guide MIDI Tab Playback Devices windows – MIDI tab A list of all your system’s MIDI output devices is shown here. you can add the four tracks to their own bus and then apply the reverb to the bus. bus. . • Properties: The button brings up the property dialog for the selected Wave device. • Bus Properties: Adobe Audition gives you the ability to organize multiple tracks into busses. or MIDI device as the default for tracks in your session. which is especially useful for adding one or more real-time effects to and/or adjusting the gain for a common group of tracks. Instead of adding that effect to each track (which might have a significant drain on your computer’s processing speed). For instance. • Same for All Tracks: Check this box to use the selected Wave device. Up to 26 buses may be created. you might have four tracks of background vocals that you want to apply the same reverb effect to. or MIDI device. Bus Properties Dialog • Friendly Name: By default. bus.

• Presets: The Bus Properties window supports the saving of favorite settings as presets. If the Lock button is down and lit. When OK is clicked. A Dry Value of 100 means that just the original audio (with no effects) can be heard. . pressing the No FX button brings up the Effects Rack for that track. Lock Button If the Lock button is in a disabled (“grayed-out”) state. while dragging to the left reduces it. it’s because there are no effects on that track. the track is locked. press the Delete button. To remove an effect from the Current Effects Rack. A Wet value of 100 means that 100% of the effect has been added and none of the original audio remains. select it and press the Add -> button. To remove the currently visible preset listing.288 CHAPTER 15 View Menu – Multitrack View • Output Device: This drop-down list is used to select the desired output device for the bus. To add an effect to a bus. select it and press the <-Remove button. If the Lock button is up but not lit. Wet/Dry Fields These fields show the percentage of bus effects that are active on this track. To change the Wet or Dry values. clicking on the FX button shows the effects properties dialog. Press the New button to bring up a dialog for naming a new preset. • Current Effects Rack: All effects assigned to the bus are listed here. the Move Down button moves the select effect down in the list if it’s not already at the bottom. • Installed Real-Time Effects: All installed Adobe Audition and DirectX effects are listed in hierarchical format. a new item is added to the drop-down Presets menu. FX/No FX Buttons If a track doesn’t yet have an effect assigned to it (regardless of what effects may be assigned if the track is part of a bus). hold down your left-mouse button. The effect will then appear in the Current Effects List pane. select the desired field. the track isn’t locked. A typical Effects Rack window Should an effect already be assigned to a track. Dragging to the right increases the value. • Properties: Pressing this button brings up a tabbed dialog used to adjust the properties of each effect in the Current Effects Rack. Move an effect up in the Current Effects Rack list (as long as it’s not already in the top position) by selecting the effect’s name and pressing the Move Up button. and drag.

select the pan field. To change the pan value for the bus. and drag. and drag. and L values. hold down the Ctrl key as you click on their S buttons. and hard right. M. The other pan control shows the current pan value and provides a more precise way of adjusting pan. Pan Controls Two types of pan controls for adjusting the balance of the bus are included. Dragging to the right pans the bus to the right channel. Track Faders The fader is used to adjust the track’s relative volume in the mix. hold down your left-mouse button. Use the portion bar to scroll from tracks 1 to 128 and any point in between. Clicking on the Rack Setup button brings up Adobe Audition’s Bus Properties dialog. . hold down your left-mouse button. Use your mouse to switch the ball to three possible positions: hard left. and hard right. Config Click on this button to display the configuration window for the selected bus. so the output of one effect doesn’t change the input of another effect. select the pan field. The control that looks like a small ball is used to quickly pan the bus hard left or hard right.ADOBE AUDITION 289 User Guide Equalization Fields The H. select the desired field. Use your mouse to switch the ball to three possible positions: hard left. hold down your left-mouse button. while dragging to the left pans the track to the left channel. To solo multiple tracks. move it down (or click on the arrow below the fader) for a volume reduction. To change the H. you won’t be able to see all of Adobe Audition’s available 128 tracks on screen at once. Mute/Solo Buttons The M (Mute) button turns off the output of the track. while dragging to the left reduces it. or return the bus to a centered state. and L fields show the amount (amplitude) of high. or return the track to a centered state. Dragging to the right increases the value. You may also directly specify the track’s volume by entering a dB value in the text box above the fader. while dragging to the left pans the bus to the left channel. and drag. as well as the bus’ desired Dry Out level. Click on the Parallel button to feed the track into all the effects separately. Push the Serial button if you want the effects on the bus to run in order (one effect and then the next). M. the configuration window’s Mixer pane provides sliders for adjusting the volume of all effects in the bus. Dragging to the right pans the track to the right channel. Press the S (Solo) button to solo the track. Move the fader up (or click on the arrow above the fader) to increase the volume. Along with giving you access to the parameters for each effect you’ve added to the bus. zero pan. really large monitor. To change the pan value for the track. zero pan. mid. and low equalization frequencies applied to the track. Pan Controls Two types of pan controls for adjusting the balance of each track are included. The other pan control shows the current pan value and provides a more precise way of adjusting pan. Portion Bar Unless you have a really. The control that looks like a small ball is used to quickly pan the track hard left or hard right. You can mute as many tracks as you want by clicking on their M buttons. and then mix the effects back together. Bus Mixer Tab Here are the major components of the Bus Mixer: Out Pressing this button shows the Bus Properties dialog.

To return to the Track Tabs view. All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window. Note: You won’t be able to see the Track tabs if the Max View window display option is selected. You can mute as many busses as you want by clicking on their M buttons. Move the fader up (or click on the arrow above the fader) to increase the volume. Max View When you press this control – which looks like a small arrow pointing upward – you switch to Max View. hold down the Ctrl key as you click on their S buttons. Show Track EQ Window Activate this item to display Adobe Audition’s Track Equalizers window. The “X” control to the immediate right of the Max View control closes the active tab. . press the Restore control – the small arrow pointing downward. Or.290 CHAPTER 15 View Menu – Multitrack View Mute/Solo Buttons The M (Mute) button turns off the output of the bus. move it down (or click on the arrow below the fader) for a volume reduction. you may detach it and have it float above Adobe Audition’s main window. To solo multiple buses. Bus Faders The fader is used to adjust the adjust the bus’ relative volume in the mix. Press the S (Solo) button to solo the bus. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. You may also directly specify the bus’ volume by entering a dB value in the text box above the fader. Track Equalizers window The Track EQ window is dockable. a tab is added for that track to the Track EQ window. Here are the major components of the Track EQ window: Track Tabs The first time you click on any track in Adobe Audition’s session window. as well as the Band buttons. which means you can reposition it at one of several places in the Adobe Audition interface. which gives you more control over a track’s equalization than the EQ tab in the Track Controls. Expand/Collapse Use the Expand and Collapse arrows (which point to either the right or the left) to show or hide the equalization frequency and amplitude faders and their associated text entry boxes.

ADOBE AUDITION 291 User Guide

Graph The graph shows the track’s current equalization curve. The graph’s x-axis (horizontal) ruler measures frequency,

while the y-axis (vertical) ruler represents amplitude. You can drag the three control points (which look like balls) around the graph to adjust the EQ curve. If the Track EQ window is in expanded view, you’ll notice that the two sets of sliders move accordingly when the graph’s control points are manipulated. The left-most control point initially represents the EQ curve’s low frequency, while the middle and right-most control points correspond to the EQ curves’ middle and high frequencies respectively.
Q Values The low, middle and high frequency Q values of the equalization curve are displayed in these boxes. (Q is the

sharpness of the equalization circuit’s peak response.) If a Q box isn’t “grayed out”, you can adjust the Q number by leftclicking on the box and dragging. Dragging to the right increases the Q number, while dragging to the left reduces it.
Band Buttons By default, only the Mid Q in the Track EQ window is active, but by pushing one or both Band buttons,

you can activate the Low Q and/or Hi Q settings. This in effect gives you the control of a parametric equalizer.
Frequency Sliders Use the vertical Lo, Mid, and Hi Frequency Sliders to adjust the EQ curve’s low, middle, and high frequencies respectively. Drag a slider to the right (or click on the arrow on the right of the slider) to increase the slider’s frequency, while moving it to the left (or clicking on the arrow to the left of the slider) reduces the frequency. You may also specify the slider’s frequency by directly entering the desired Hz value in the text box to the right of the frequency slider. Amplitude Sliders The horizontal Lo, Mid, and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve’s low, middle, and high frequencies respectively. Move a slider upwards (or click on the arrow at the top of the slider) to raise the frequency’s amplitude, while bringing it down (or clicking on the arrow to the bottom of the slider) decreases the amplification of the frequency. You may also specify the slider’s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slider.

Show Track Properties
Checkmarking this item displays Adobe Audition’s Track Properties dialog, where you can adjust parameters for a selected track’s volume and panning, output and record devices, and more.

292 CHAPTER 15
View Menu – Multitrack View

Track Properties window

The Track Properties window is dockable, which means you can reposition it at one of several places in the Adobe Audition interface. Or, you may detach it and have it float above Adobe Audition’s main window. Here are the major components of the Track Properties window:
Track Tabs The first time you click on any track in Adobe Audition’s session window, a tab is added for that track to the

Track Properties window. Click on a tab (which contains the name of the track) to adjust its associated track’s settings. The “X” control to the immediate right of the Max View control closes the active tab. Note: You won’t be able to see the Track tabs if the Max View window display option is selected.
Max View When you press this control – which looks like a small arrow pointing upward – you switch to Max View. All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window. To return to the Track Tabs view, press the Restore control – the small arrow pointing downward. Volume Slider This vertical slider adjusts the track’s volume, measured in dB. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the track’s volume, while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. You may also specify the track’s volume by directly entering the desired dB value in the text box above the Volume Slider. Panning Slider This horizontal slider adjusts the track’s pan, measured in percentage. Moving the slider to the left (or

clicking on the arrow at the left of the slider) reduces the volume of the right channel, while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume. You can also set the track’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. Negative numbers (such as -100) denote a left pan, while positive numbers (like 100) mean a right pan.
Title The default title of the selected track (such as “Track 3”) appears in this editable field. You may rename the track

by highlighting the text in this field and typing over it. Note that the name of the Track Tab changes accordingly.

ADOBE AUDITION 293 User Guide

Output The item shows where the track will be output to, such as a sound card or bus. If you have more than one output

device in your system, you can select it from the drop-down list.
Record The device (such as a sound card) that this track will record through to is shown here. If your system has more

than one recording device, you can select it from the drop-down list.
Channel Use this drop-down list to decide if you want this track to be Left Only, Right Only, or Stereo. Bit Rate Here’s where you select whether you want the track to be 16-bit or 32-bit. An Adobe Audition session can

contain a mix of 16-bit and 32-bit tracks.
Effects Press the FX button to bring up the Effects Rack for that track. Lock If the track has one or more real-time effects applied to it, this button locks the track Bus If you’ve added this track to a bus, the Wet and Dry percentages are shown here. You can left-click and drag on these boxes to adjust these percentages. EQ The Low (“L”), Mid (“M”), and High (“H”) equalization values of the track are displayed in these three fields. You

can adjust the EQ level of one of these fields by left-clicking on it and dragging. Dragging to the right increases the number, while dragging to the left reduces it. For more equalization control, go to View > Track EQ.
Record This button arms the track for recording. Press this master record button in the Transport Buttons to actually

start recording.
Solo This button solos the track so that only it will be heard on playback. All other tracks are muted.

Note: Despite its singular name, more than one track may be soloed. To do this, hold down the Ctrl key while clicking on the solo buttons of all tracks you wish to put into solo mode.
Mute The Mute button silences the output of this track. More than one track in an Adobe Audition session can be muted at one time.

Show Organizer Window
This command lets you see Adobe Audition’s Organizer window. This handy, tabbed window allows you to easily open and close files, choose effects (including dragging real-time effects directly to tracks), and more. Note: The Organizer window is fully documented in the “Looking at the Work Area” chapter.

Show Cue List
The command opens the Cue List window, which is a dockable window. A cue list is a list of time offsets, or locations defined within an audio file. A cue can be either a point that specifies a cursor position, or a range that specifies a selection. You may define and save an unlimited number of cues in the Cue List for later recall, or for assembling in Adobe Audition’s Play List. Note: The Cue List is fully documented in the “View Menu – Edit View” chapter.

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Show Transport Buttons
Check this item to display Adobe Audition’s Transport Buttons, which are used to shuttle the active waveform or session. Note: More information on the Transport Buttons can be found in the “Looking at the Work Area” chapter.

Show Zoom Buttons
Select this item to display Adobe Audition’s Zoom Buttons. The Zoom Buttons window is a dockable window, allowing you to reposition it at one of several places in the Adobe Audition interface. Note: More information on the Zoom Buttons can be found in the “Looking at the Work Area” chapter.

Show Time Window
Check this item to show Adobe Audition’s Time window. This window displays the current position of the playback cursor. The default display value is mm:ss:ddd (minutes:seconds:thousandths of a second), but this can easily be changed by right-clicking on the Time window and choosing another option, such as Compact Disc, Samples, Bars and Beats, or one of several SMPTE values. Note: More information on the Time window can be found in the “Looking at the Work Area” chapter.

Show Sel/View Controls
When checked, the Sel/View Controls window is displayed. (“Sel” is an abbreviation for Selection.) It shows the beginning and ending points, as well as the total length of both the selection and the section of the session that’s currently viewed. Both the selection and display range is shown using the current time display format. Note: More information on the Sel/View Controls can be found in the “Looking at the Work Area” chapter.

Show Level Meters
Click on this option to display Adobe Audition’s Level Meters, which appear near the bottom of both Adobe Audition’s Edit View and Multitrack View windows. These meters display both record and playback levels. Note: More information on the Level Meters can be found in the “Looking at the Work Area” chapter.

Show Load Meter
This option displays Adobe Audition’s Load Meter, which runs in a dockable window. The Load Meter shows you how much CPU time is available, which is especially handy if you regularly use real-time effects. When the meter fills up, Adobe Audition has no more available computing power and your system will act erratically.

ADOBE AUDITION 295 User Guide

Show Video Window
If this option is checked, a window used to view video data that’s inserted in Adobe Audition’s Multitrack View is displayed. It initially appears in the upper left-hand corner of your desktop, and can be resized to fit your frame size. Plus, since the Video window is dockable, you can reposition it at one of several places in the Adobe Audition interface.

Show a Placekeeper
Select Show a Placekeeper to create a blank, dockable window called a “placekeeper”. Use it to more accurately define where you want a dockable window to be, especially for windows that are only useful when viewed in a certain aspect ratio. Note: More information on Placekeepers can be found in the “Looking at the Work Area” chapter.

Display Time Format
The Display Time Format menu lets you choose between several time display readouts, including Decimal, Compact Disc, different versions of SMPTE, Samples, Bars and Beats, and Custom time code frame rates. Adobe Audition will then use the format chosen here when referencing time: the Time window, the x-axis (time) ruler, time status boxes, Status Bar, etc. Note: More information on the Display Time Format menu can be found in the “View Menu – Edit View” chapter.

Toolbars
Use this menu to specify to specify which, if any, groups of icons you’d like to display on Adobe Audition’s Multitrack View toolbar. Checkmark the desired icon group(s) to display. If no items are checked, the toolbar area will disappear until you check at least one icon group. Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time: one row, two rows, or three rows.

Status Bar
Access the items on the Status Bar submenu to turn on Adobe Audition’s status bar – which runs along the bottom of the Adobe Audition window – as well as decide which information fields you wish displayed in the status bar. You can also find this menu by right-clicking on the status bar. To hide the Status Bar, right-click on it and select the Hide menu option. Or, uncheck Show from the Status Bar submenu item on the View menu. Note: More information on the Status Bar can be found in the “Looking at the Work Area” chapter.

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Advanced Session Properties
This command brings up the Advanced Session Properties window, a tabbed dialog that lets you adjust several parameters of your multitrack session, as well as store additional session-based information within your session file.

General Tab

The General tab of the Advanced Session Properties window Session Start Time Offset Here you can enter a time offset, which is the time location that Adobe Audition will wait for

to begin playback. Locations must be entered in the format of hours:minutes:seconds:frames.divisions, or hours:minutes:seconds.division if not being used with SMPTE.
Key for Voiced Loops This specifies the session’s key. Any loops that have a key specified will be pitch-shifted to match

the session’s key.

Mixing Tab

The Mixing tab of the Advanced Session Properties window Pre-Mixing This is the bit depth used for the background mixing process. Best quality is achieved by choosing the 32-bit setting, especially for single output device situations or if you have a fast hard drive.

However, if you’re using multiple sound cards, it may be advantageous to pick 16-bit for pre-mixing, as less data will be transferred across the hard drive(s), which will speed things up.

ADOBE AUDITION 297 User Guide

Note: Even if you do 16-bit pre-mixing, no data is lost, and a final mixdown can still be 32-bit.
Panning This section sets the method used for panning waveforms in a multitrack session. • L/R Cut Logarithmic: If this option is chosen, left-panning is achieved by reducing the volume of the right channel,

and right-panning is performed by reducing the left channel volume. The channel being panned to doesn’t increase in volume as panning gets closer to 100%.
• Equal-power Sinusoidal: Choose this option to pan left and right channels with equal power, so a hard pan left will

contain the same loudness as both channels together. This results in an increase of 3dB RMS on the channel being panned to when at 100%. Note: Because panning can actually make one channel louder than the original waveform, audible clipping can occur in 16bit sessions. To avoid this, work in the 32-bit realm if you’re using the Equal-power Sinusoidal panning method.
Set As Default If you’ve changed the Pre-mixing and/or Panning settings, press this button to have Adobe Audition remember them as the default settings.

Note: Adobe Audition’s default settings for Multitrack View are under the Multitrack tab of Options > Settings.

Tempo Tab

The Tempo tab of the Advanced Session Properties window Tempo The tempo of the session is specified here. Any loops that have a tempo specified will be time-stretched to match

the session’s tempo. The time-stretch method used is determined by the individual loop’s settings. If you need more detailed tempo settings, right-click on the horizontal ruler in Adobe Audition’s Session Display.
• Beats/minute: Enter the number of beats-per-minute here. • Beats/bar: Input the desired number of beats-per-bar in this field. • Ticks/beat: This field is where you can specify the amount of ticks-per-beat. Offset Choose from the following:

Signature Select the appropriate time signature using this drop-down list. This is so you can line up your metronome with a song that’s already been created and you're adding more to. you’re using a microphone and your computer’s speakers are on. The default is -6dB. of course. Any point can be at any time.) Uncheck the box to be Metronome-free Sound Set Use this drop-down list to select from different types of metronome sounds. • Reset 1:1 to Cursor: Press this button to set the cursor to the first beat of the first measure. . Custom Press this button to bring up the Customize Metronome Time Signature dialog. Check the Enable Metronome box to hear the “ticks” of the metronome whenever you play or record something in Adobe Audition’s Multitrack view. so that you know the metronome beat will be in the right place. You can also enter a new cursor position here and Adobe Audition will recalibrate the session. Volume Enter the desired volume of the metronome sounds in this text box. A higher number (such as -3dB) makes the metronome sounds louder. The current signature pattern is displayed in the non-editable Pattern field. while a lower number (like -10dB) decreases the metronome volume. (The metronome sound effects won’t be recorded – unless. Metronome Tab The Metronome tab of the Advanced Session Properties window Enable Metronome Keeping perfect time is a cinch with Adobe Audition’s built in Metronome.298 CHAPTER 15 View Menu – Multitrack View • Cursor At: This shows the current position of the cursor in bars-and-beats format. Custom time signatures may be added using the Custom… button. including negative time. • Song Start: The exact position (stated in milliseconds) of the beginning of the song is shown here.

Notes Tab The Notes tab of the Advanced Session Properties window You can enter any freeform text about the session here. Pattern The current metronome pattern is shown in this non-editable text box. Press the Add button to place your new custom time signature to the Metronome’s Signature list. • Pattern: Here’s where you specify the pattern of the time signature. For instance. the names of the musicians. and notes about settings.ADOBE AUDITION 299 User Guide The Custom Metronome Time Signature dialog • Name: Enter the name of the new time signature in this field. • Beats/Bar: The number of beats per bar goes in this text box. who played what instrument. a 1 for a down beat. Spaces between the numbers are optional. . and 3 for a regular beat. a 2 for a secondary beat. Use a 0 for no beat.

300 CHAPTER 15 View Menu – Multitrack View .

Undo As in Adobe Audition’s Edit View. this command will appear on the Multitrack View’s Edit menu. Access this command to bring up Adobe Audition’s Wave Block Looping dialog so that you can adjust the wave block’s loop properties. Edit Waveform (Wave Block Only) If a single wave block is highlighted. Edits done in the multitrack environment are non-destructive. or “take”. Loop Properties (Wave Block Only) If a single wave block is highlighted. However. Note: Multitrack Edits done with real-time effects don’t go into the Undo list. this command will appear on the Multitrack View’s Edit menu. a new instance. this includes anything you might do in the way of editing or arranging waveform blocks. and therefore don’t create temporary files on disk. Material is not overwritten when recording into an existing waveform block. Unlike Undo in the Edit View. they’re totally reversible by simply removing the effect from the track’s rack. a Take History is preserved for the selected waveform in the event that it’s recorded over. Allow Multiple Takes (Wave Block Only) If a single wave block is highlighted. and copying. this command will appear on the Multitrack View’s Edit menu. Note: The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area. More information about the Loop Properties dialog can be found in the “Navigating the Multitrack View Screen” chapter. In the multitrack environment. splicing.301 Chapter 16: Edit Menu – Multitrack View T he Edit Menu contains the options for editing waveform blocks in Adobe Audition’s Multitrack View. . Undo allows you to back up through previous edits. With Allow Multiple Takes disabled. Access the command to send the wave block to Adobe Audition’s Edit View for modification. there isn’t an Enable Undo function governing the ability to undo actions in Multitrack. of the block is created and recorded into. Instead. recording is done into the same spot each time. preserving the previous waveform. such as moving. When you enable this option by clicking on its menu command (causing a check mark to appear next to its name).

Adjust Wave Pan (Wave Block Only) If a single wave block is highlighted. this command will appear on the Multitrack View’s Edit menu. while dragging it to the right (or clicking on the arrow to the right of the slider) decreases the left channel’s volume. material is not overwritten when recording into an existing waveform block. which is measured in dB. and will take up drive space until deleted. allowing you to move between them. Click it to display a horizontal slider used to adjust the wave block’s left/right volume balance. or “take”. Negative numbers (such as -100) denote a left pan. Take List This is a list of takes available as alternates for the selected waveform block. Delete This Take This removes the selected take. this command will appear on the Multitrack View’s Edit menu. Take History is simply a list of each of these instances. of the block is created and recorded into. Merge This Take Choose this command to merge a take completed with Punch In back into the surrounding material. this command will appear on the Multitrack View’s Edit menu. delete them.302 CHAPTER 16 Edit Menu – Multitrack View Take History (Wave Block Only) If a single wave block is highlighted. Moving the slider to the left (or clicking on the arrow at the left of the slider) reduces the volume of the right channel. merge them back into the surrounding material they once belonged to. . The Take History function is available for any track that has the Allow Multiple Takes command enabled. preserving the previous waveform. Dragging the slider up (or clicking on the arrow at the top of the slider) increases the wave block’s volume. and in the case of a Punch In. Note: Each take exists as an actual waveform on your hard disk. You may also specify the wave block’s volume by directly entering the desired dB value in the text box above the Volume Slider. instead a new instance. Adjust Wave Volume (Wave Block Only) If a single wave block is highlighted. Punch In takes are automatically deleted when Merge Current Take is selected. while moving it downward (or clicking on the arrow underneath the slider) reduces the volume accordingly. deleting it from your hard drive. while positive numbers (such as 100) mean a right pan. With multiple takes. You can also set the wave block’s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider. Click it to display a vertical slider used to adjust the wave block’s volume.

panning. You can change this name to whatever you want. Wave Block Properties dialog Volume Adjust the Volume slider or enter a decibel value in the box above to set an overall volume level for the waveform block. 205 is purple. Note: This volume setting is independent of the track’s overall volume. 0 is red.) The waveform’s true filename isn’t changed. for the waveform block. 90 is green. Track volume is set in the Track Info dialog. You can enter a value directly to move the block to a specific time location. Pan Adjust the Pan slider or enter a pan amount (-100 is hard left. Use the slider or enter the hue value directly in the field provided. which Adobe Audition will use to identify the waveform in Multitrack View. Track pan is set in the Track Info dialog.ADOBE AUDITION 303 User Guide Wave Block Properties (Wave Block Only) If a single wave block is highlighted. 100 is hard right) in the box to the right to set a pan level for the waveform block. 185 is violet. and is shown along with its path in the non-editable space below. Any value of 0 to 255 is valid. 42 is yellow. It brings up the Wave Block Properties dialog. and more. which displays information on the selected waveform block. (For instance. The time format used is that which is currently selected in View > Display Time Format. . or beginning time. this command will appear on the Multitrack View’s Edit menu. volume. Filename/Path The waveform’s filename is displayed in an editable text box. 120 is aqua. and 220 is fuchsia. such as position. Time Offset This box displays the offset. 25 is brown. You can use this dialog to change waveform block properties.wav” could be renamed to the friendlier-looking “Lorna’s Scratch Vocal”. Hue This sets the color of the waveform block. Roughly. Note: This pan setting is independent of the track’s overall pan. 140 is blue. “lornascratchvocal.

this command appears on the Edit menu. To re-enable recording for the waveform block. this command appears on the Edit menu. which gives you lots of extra space in the block. Active Track (MIDI Block Only) If a single MIDI block is highlighted. this command appears on the Edit menu. Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played. Track Mute is sent in the Track Info dialog.304 CHAPTER 16 Edit Menu – Multitrack View Mute Check this box to mute. where you can make changes to the tempo of the MIDI block using the Tempo field provided. uncheck the Lock in Time box and it will be freed for horizontal movement. all the values are displayed on scale with the 127 note values. this command appears on the Edit menu. or to Edit > Lock for Play Only and remove its checkmark by clicking on it. Note: Locked waveforms are identified by an overlaid graphic that looks like a padlock in a circle. . Remove this check to unmute. Locking a waveform is useful when you’ve decided upon its position in time. To unlock a waveform. If you want to hear all of the MIDI block’s tracks. Zoom in/Zoom out (MIDI Block Only) If a single MIDI block is highlighted. Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom. indicating that it won’t play until unmuted. and don’t want to accidentally move the waveform when right-clicking on it. The wave block will become gray in color. allowing you to move it between tracks. Use Transpose and its submenu options to change the key of a MIDI block up or down by up to seven steps. or disable. While a waveform which has been locked can’t be moved in time (left or right). the waveform block is locked to its current time location in the multitrack session. it may be vertically repositioned. If you select Zoom Out. A MIDI note can be assigned to 127 note values. A locked-for-play-only waveform won’t become red when position in a record-enabled track. the selected waveform block. Transpose (MIDI Block Only) If a single MIDI block is highlighted. More information about the Set Tempo dialog can be found in the “Navigating the Multitrack View Screen” chapter. Lock for Play Only Checking this box will set put the waveform block into “safe mode” so that it won’t be recorded into. Set Tempo (MIDI Block Only) If a single MIDI block is highlighted. Its submenu lists all of the tracks in the MIDI block. uncheck this box. or by pressing the green “M” button in the track’s console area. checkmark the All item. It displays the Adjust MIDI Tempo box. Lock in Time If this box is checked. Note: This Mute setting is independent of the track’s overall mute state. By default.

with track and waveform properties (such as volume and pan) affecting the way the final mix sounds. Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the Edit View. Session elements such as looping. Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform into the selected track. Session elements such as looping. This option just lets you change the controller 7 value directly in case you have a MIDI file whose controller 7 value is too low or high. Mix Down to File This function creates a two-track stereo mix (unless a mono option is selected) of all or selected tracks and places the resulting waveform into Adobe Audition’s Edit View. Insert a submix back into your session using the File/Cue List in the Multitrack View’s Insert menu. All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform into the selected track. . This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at. this command appears on the Edit menu. which will be placed in the Edit View. All Waves (Mono) Selecting this option will mix all unmuted waveforms in the session to a mono waveform. Selected Waves (Mono) Choose this option to mix all highlighted waveforms in the session to a mono waveform. The contents of all or selected enabled (unmuted) tracks are combined. Use the Mix Down to Empty Track N (Bounce) function to “bounce down” multiple tracks to a single track to speed up background mixing and clear up your work area. The controller 7 value for a MIDI file is the master volume setting. and envelopes are all reflected in the mixed waveform. The contents of all or selected enabled (unmuted) tracks are combined. and envelopes are all reflected in the mixed waveform. images. with track and waveform properties (such as volume and pan) affecting the way the final mix sounds. which will be opened in the Edit View. The original tracks that were submixed can then be muted or removed from the session. Mix Down to Empty Track N (Bounce) This command creates a two-track stereo or mono mix of all or selected tracks and places the resulting waveform into the next empty track in your session. All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the Edit View. images.ADOBE AUDITION 305 User Guide Set Controller 7 (MIDI Block Only) If a single MIDI block is highlighted.

as well as a special circular symbol overlaid each block. This function is documented in the “Navigating the Multitrack View Screen” chapter. Then. For example. or return to the original data. Group Color This command invokes Adobe Audition’s Group Color dialog. Punch In will work on one or more waveforms at a time. or from the right-click menu. Adobe Audition allows for multiple takes when Punching In. or from the right-click menu. Other wave operations such as Mute or Lock in Time will also affect all blocks in a group. • To ungroup blocks. click on any member of that group to select it. Grouping can help with organizing the many blocks in your session. Punch In Punch In is a recording technique used to replace a section (perhaps a mistake of some kind) in an existing track segment. This will remove the checkmark from the menu item. Grouped blocks are designated by a different color than ungrouped blocks. while material in-between these points is replaced with (hopefully) a better take. right-click on any member of the group and choose Group Color.306 CHAPTER 16 Edit Menu – Multitrack View All Waves (Mono) Selecting this option will mix all unmuted waveforms in the session to a mono waveform. you can continually record over the original material and afterward choose between the best performance. which allows you to change the color of the current block. Block Color This command invokes Adobe Audition’s Block Color dialog. Grouped blocks will move together when selected and repositioned. . you can have all of your guitar elements grouped together to easily identify and move them. choose Group Blocks from the Edit menu. select the members of the group by holding your Ctrl key down and left-clicking each desired block. which will be placed into the selected track. • To group blocks together. Selected Waves (Mono) Choose this option to mix all highlighted waveforms in the session to a mono waveform. This function is documented in the “Navigating the Multitrack View Screen” chapter. which will be opened into the selected track. and again choose Group Blocks from the Edit menu. which allows you to change the color of the current group of blocks. Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio. To select the color to use for a particular block group. Group Blocks This option will group any selected blocks together.

The session will begin playback. producing a steeper slope at one end of the fade. you can switch back to Adobe Audition’s Edit View and use the Find Beats. When finished. or from the menu that appears when you right-click on the waveform block. The fade curves created with Crossfade can be modified by enabling the Show Volume Envelopes and Enable Envelope Editing options in the View menu. Logarithmic will fade the amplitude of a signal at a constant rate. sine-like slope to the fade. Zero Crossings. if Edit > Snapping > Snap to Blocks is enabled. and upon hitting the Punch point. • After recording. and Sinusoidal for a curved. Use the desired Merge Take command on the right-click menu when you’ve decided among them.) Note: The Crossfade toolbar button uses Linear fades by default. the highlight will easily adjust itself to the beginnings and endings of the waveforms. (You can also adjust the highlight by holding the Shift key down when doing a left-click near the edge of the selection. To crossfade. (Both Logarithmic In and Logarithmic Out options are at your disposal. you can take another pass at the Punch. adjacent if possible. For an exact selection. depending on whether you are fading in or out. The highlight should extend a bit beyond the end of the waveform(s) to fade from. Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another.) After establishing a highlighted area. They do so by creating a fade out and a fade in over the transition region.ADOBE AUDITION 307 User Guide To use Punch In: • Highlight the area of the waveform block (or blocks) you would like to Punch into. Choose Linear for an even grade. Or. • You can position the playback cursor sometime before the Punch In location and press the Record button. you can monitor the different takes by right- clicking on the waveform block and choosing them from the Take History menu option. Choose the Crossfade command from the Edit menu or rightclick menu to specify a different crossfade type. and should start a bit before the beginning of the waveform(s) to fade to. it’s best to choose sections of the waveform where there are gaps in the audio for your Punch points. you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left-clicking on the desired wave blocks. Waveforms to crossfade between should be positioned in different tracks (or can be in the same track. will record into the selected area. make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade. and then switch back to Multitrack View. . in a back-to-back manner). Three major types of crossfades are available. If possible. and Snapping functions to make your selection. This will enable the selection for record and put the track into record mode. Next. choose Edit > Crossfade (or Crossfade from the right-click menu) and the type of crossfade you want to do to crossfade between the selected waveforms. • Choose Punch In from the Edit menu. This will make it easier to achieve a natural sound. as if it were all one take.

Loop Duplicate dialog Note: For waveform blocks. To create interesting time delay effects using the Loop Duplicate function: 1 Start by placing the source waveform into the Multitrack View. which has the effect of functioning identically to the No gaps – continuous spacing option until changed. The entry box to the right will display the spacing in the current Display Time Format. You can now select the loop’s waveform block and choose Loop Duplicate to create your loop. a more efficient and flexible method of looping is to adjust the block’s Loop Properties. Snapping. in effect.308 CHAPTER 16 Edit Menu – Multitrack View Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating. for a continuous loop. enter the number of times you’d like to duplicate the waveform block. Find your loop points in Adobe Audition’s Edit View with Find Beats. while a lesser value will cause them to overlap. you can place the instance throughout the entire song and only consume the drive space of the original occurrence. Decide if you want no gaps between each duplicated wave form block. • Evenly Spaced: Choose this option if you would like to define a spacing to place between each block. Spacing This determines the spacing at which to place each duplicated waveform block. Setting the Display Time Format to Bars and Beats makes it easy to place a waveform (such as a drum hit) at every other beat in your song. After doing so. • No gaps – continuous looping: This option places each subsequent duplicate directly after the preceding block. which make musical sense. a loop of the waveform. Because each instance (other than the original) is an Image. or if you wish them to be even spaced by a certain amount. . for example. You’ll find this command on the menu that appears when you right-click on the wave block Repetitions In this field. Using these functions you can make a selection (highlight) that starts and ends on zero crossings. choose Edit > Insert in Multitrack and switch back to the to the Multitrack View. This value defaults to the length of the selected waveform block. Entering a greater value will put space between each waveform block. and Zero Crossings.

From there. The newly processed file can then be placed into the multitrack environment. larger amounts to create delays (15-50 ms offsets) or echoes (50 ms or greater offsets). placing the delayed Images at every beat. You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations. double-click on it (which will open up the waveform in the Edit View window). you can use File > Save As… to create a copy of the file that can be transformed using any Effect function. one for Reverb. For effects that have wet/dry balancing. you can add a Flanger effect to one instance. to soften the echoes (also. identical to the original in size and disk space consumption. placing it into an adjacent to the original. or close to 100% wet.ADOBE AUDITION 309 User Guide 2 Once entered. or by saving the file under a new name using Save As… in the Edit View. The Image should be placed onto a new track (such as below the existing track) 3 Next. small amounts to create phase shifts (small time offset). Repeat this operation for other effects to have separate control over a number of effects (one for Flange. or pan right and left. and depending on the situation. and all 30 instances. Images have the advantage of not consuming any disk space. The great thing is this is all completely non-destructive! Convert to Unique Copy This command creates a copy of the selected waveform block.) 3 Insert the processed copy into the multitrack environment. add any processing or effect you like to it. to the right of the original. for example. hold down the Shift key and right-click on the waveform and drag it to make an Image. Creating a unique copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform (you can add reverb to the one placed in your intro. the combined waveforms will increase the track’s overall level in the mix and could cause clipping).). Copying a waveform block in the multitrack environment (as opposed to creating an Image) will create a separate audio file on disk. Try reducing the volume levels slightly for each Image. etc. 4 Repeat this any number of times. To quickly add an effect to a waveform block within the Multitrack View. 4 You can then vary the effected waveform’s (and the original’s) volume and pan envelopes to bring the wet/dry in and out. . This way it will simultaneously playback both original file and the effected one. 2 Once a copy of the original file has been made. it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once. (With Images. while the same sound placed in your verse can be dry).). so the result is primarily effect. You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time. To add multiple effects to an existing waveform non-destructively in Multitrack View: 1 Create a copy of the waveform using Edit > Convert to Unique Copy. set them to 100%. (The original waveform that you copied will provide the dry element. in a different track. for example would be flanged. shift the Image in time. shifting each Image slightly more to the right.

Note: This merge operation is destructive in that it does alter your sound file. Locked blocks are identified by an overlaid graphic of a circled padlock. Lock for Play Only disables the ability of a block to be recorded into. This command is separate from Track Muting (pressing the Mute button in the Track Console area) which disables all blocks within a track. The boundaries of the segments are joined together using a 30 millisecond crossfade. Once a block has been split. Split The Split command functions similarly to a traditional tape splice. For example. allowing you to move it between tracks. Merge/Rejoin Split Merge/Rejoin Split will recombine a split segment of a block with the original surrounding material. it “cuts” the block. provided that the split segment sits at the same relative location as where it was split from. and don’t want to accidentally move the block when right-clicking on it. simply select it and choose Lock in Time to free it for horizontal movement. and are displayed as “grayed-out”. the file is rewritten with the new material. . or slid in time independently of the other segments. when rejoining a Punch In segment. The Merge/Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform. While a block which has been locked can’t be moved in time (left or right). This is signified by the block not turning red when the track is record-enabled. segmenting it into parts. the marked block will not be recorded over.310 CHAPTER 16 Edit Menu – Multitrack View Mute Blocks This command mutes or unmutes the selected block(s). Splitting a block is non-destructive. Lock in Time Lock In Time “locks” selected blocks to their current time location in the multitrack session. To unlock a block. and in the same track as the original segment(s). it may be vertically repositioned. deleted. Locking a block is useful when you’ve decided upon its position in time. Lock for Play Only This command marks the selected block(s) as play only. so while the track it resides in may be record enabled (have the red “R” button on the Track Console depressed). Muted blocks are ignored during playback and mixdowns. each segment can be moved. as it does not alter the original file on disk. The cut is performed at the current cursor point. or selection (in this case the selection will be spliced out).

switch back to Multitrack View (the highlight will be retained) and choose Adjust Boundaries to have the waveform block readjust to match your highlight. Trim differs from Adjust Boundaries in that Trim won’t reveal any material within a highlighted region. you can highlight the middle second plus a little to the right. . double-clicked to highlight the displayed area. Trim This Trim command works in the same fashion as Trim in the Edit View. Note: Unlike the Trim command in Adobe Audition’s Edit View. removing that which is outside of the highlight (or including material inside the selection that is not currently revealed). this version does not remove any data from the actual sound file. Trimming in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. Trim will only remove that which is outside of the highlight for the selected waveform block. for instance. then zoomed out to adjust the highlight boundaries to your satisfaction. thereby lengthening the wave block. Use Trim to remove unwanted material around a selection. with a five-second wave block. leaving just the third second.ADOBE AUDITION 311 User Guide Align Left The Align Left command (which is only accessible if two or more blocks are highlighted) to make the left-hand edges of all highlighted blocks the same as the left-hand edge of the last highlighted block. highlighting the third second and choosing Adjust Boundaries will trim off the surrounding material (the first two seconds and the last two seconds). For example. When finished. and again choose Adjust Boundaries to bring back that little bit to the right. Align Right Click the Align Right command (which is only visible when two or more blocks are highlighted) to make the right-hand edges of all highlighted blocks the same as the right-hand edge of the last block you highlighted. All material will be removed from the selected waveform block except the portion within the highlight. If you decide you’ve trimmed off too much. You may return any trimmed block to its original state at any time by selecting it and choosing Edit > Full. You may also trim an area using the Adjust Boundaries command. After highlighting to define an area to adjust to. Note: To fine tune your adjustments in the preceding example. Adjust Boundaries This function will adjust the boundaries of the selected block either inwardly or outwardly. any material in the waveform block that lies within this highlight will be retained or exposed. you could also have double-clicked on the trimmed block to bring up the Edit View.

For example. Selected blocks appear brighter in color than their nonselected counterparts. and choosing Cut will remove the third second. this Cut command does not remove any data from the actual sound file. while regular unmuted blocks (green) will become bright green when selected. while regular unmuted blocks (green) will become bright green when selected. If you want to remove unwanted material around a highlighted region. and close the files. Any material removed using Trim or Cut (while in Multitrack View) will be replaced. record-enabled blocks (red) will become bright red when selected. use Edit > Trim instead. . They’re also available to the session via Insert > Existing File/Cue until the audio files are closed from the File menu. record-enabled blocks (red) will become bright red when selected. highlighting the third second. Remove Blocks This command removes any selected (highlighted) blocks from a multitrack session. leaving the two-second portions on either side. Note: Unlike Cut in the Edit Waveform View. Destroy Blocks (remove & close) This will remove the selected block(s) from the multitrack session. selecting it. if track 3 contains a wave block that is five seconds in length. Selected blocks appear brighter in color than their non-selected counterparts. You may return any Cut block to its original state at any time by selecting it and choosing Edit > Full. most of the time). and places nothing on the clipboard.312 CHAPTER 16 Edit Menu – Multitrack View Cut Cut will remove the highlighted portion of a selected block. Removed waveforms will still be available in Adobe Audition’s Edit View. so this may result in having more than one instance of the same block portion throughout a session. Select All Blocks This command selects all blocks within the current session. Select All Blocks in Track N This command selects all blocks in the currently selected track (the last one you clicked on. If you’re using the default Adobe Audition color scheme. Full This option returns any selected block to its original state. Using Cut in Multitrack View simply tells Adobe Audition to “disregard this material” when playing back. If you’re using the default Adobe Audition color scheme. Note: Selecting Full for a block when its segments have been moved will return any missing material at that location.

or to cut the selected area out of the session.0. thereby raising or lowering all other parts of the same waveform by the same amount. of course. the highlighted area will be removed.0 in this case. The Snap to locations (which vary depending on the Snapping option you have selected) act as magnets for any blocks dragged in their proximity.). and up to five of them may be checkmarked at one time. Snapping is used to align perfectly with time ruler locations when highlighting a region. Blocks will be split if necessary. keep dragging beyond 2.0.) If the volume is raised as part of the normalization process.] . 2.ADOBE AUDITION 313 User Guide Insert/Delete Time Use Insert/Delete Time to introduce an amount of silence into the session at the cursor location. (When you normalize a waveform. with all blocks to the right of the selected region shifted to the left. Snapping Enable this function to have the edges of any block “snap” to certain time locations when being dragged. if you wish. etc. and the specified amount of silence inserted. Adobe Audition can apply limiting to prevent clipping. Insert/Delete Time dialog Insert This option will shift all material (blocks or parts of blocks) to the right of the cursor position to a location after the time amount specified in the editable text field. Note: Complete documentation on the Group Waveform Normalize function can be found in the “Edit Menu – Edit View” chapter. with seconds showing as the division at your current zoom level (1. Six snapping options are available from the pullout menu. You can. Delete Selected Time If this option is chosen. Group Waveform Normalize Group Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three-screen batch process. [Snap to Ruler (Fine) and Snap to Ruler (Coarse) can’t both be checked simultaneously.0 location as it nears it. For example. if your Time Ruler’s format is hours:minutes:seconds. the loudest part of the waveform is set to a specified amplitude. and have the effect of pulling the waveform toward them.6 seconds to the right will result in it snapping to the 2. then dragging a block which starts at 1.

allowing you to Snap To with more precision. Zooming in will create further subdivisions to snap to. the selection or your cursor is always right on a frame boundary in whatever time format you’re in – as long as the time format selected is measured in frames (such as Compact Disc and SMPTE).) along the horizontal time ruler. Zooming in will create further subdivisions to snap to. Note: While dragging a block in Multitrack View. the white line will signal snapping as you drag a waveform block pass the beginning or end of other waveforms.) along the horizontal time ruler. If you do. Snap to Frames (Always) When Snap to Frames (Always) is chosen. The beginning and ending points of blocks become the “magnets”. This option is especially handy for working on audio for CD. The beginning and ending points of the loops act as “magnets”. Use this option for more sensitivity in Snapping. Snap to Ruler (Coarse) Select this option to have the selection or block snap to each subdivision in the current time display format (SMPTE. the smaller blocks appear on top of the larger ones. a white line will appear over the length of the tracks when Snapping points meet. Adobe Audition displays Cue markers in the Multitrack View as red and blue dotted lines. . Use this option if you don’t want too much sensitivity in Snapping. Bars and Beats. This will rebuild your session’s output. if Snap to Blocks is selected. Snap to Loop Endpoints If you select this option. etc. Snap to Ruler (Fine) Check this option to have the selection or block snap to each subdivision in the current time display format (SMPTE. Refresh Now Choosing Refresh Now instructs Adobe Audition to initiate the background mix from scratch. Snap to Blocks This option snaps blocks to the beginning or ending points of other blocks. the selection will snap to any time locations currently listed in the Cue List. etc. For instance.314 CHAPTER 16 Edit Menu – Multitrack View Snap to Cues With this option checked. blocks used as loops will snap to the beginning or ending points of other loops. Bars and Beats. Check For Hidden Blocks Run this command to see if you have any blocks completely hidden by other blocks in your session. allowing you to Snap To with more precision.

Note: More information on the Open a Waveform dialog can be found in the File Menu – Edit View dialog. If you try to insert another one. Wave from File This command activates Adobe Audition’s Open a Waveform dialog. each on its own track. Note: Keep in mind that once your video file is inserted. If you want to actually see the video’s visual data. Note: Only one MIDI file may be inserted at a time. MIDI from File Use this command to initiate the Choose a MIDI file dialog (which is very similar to a standard Windows Open dialog) which can be used to pick a MIDI file (files with a . while the audio from the video is placed in the track below.315 Chapter 17: Insert Menu – Multitrack View U se the Insert Menu to import wave files. Both active files (those already opened in Edit View) and inactive (not already opened) files may be easily inserted. the video block and its soundtrack are completely independent entities in the session. Video from File This command brings up the Choose a movie file dialog (which strongly resembles a typical Windows Open dialog) so that you can pick one video file for insertion into Adobe Audition’s session window. It allows you to choose one or more supported wave files to be placed at the insertion point in the Session Display.mid or . Note: Just one video file may be open in Adobe Audition at a time. Moving or changing one will have no direct effect on the other. you’ll be prompted to close the currently open video file. and audio from video files into Adobe Audition’s Multitrack View. Multiple waveforms are placed at the insertion point. Once you press the dialog’s Open button. and will be treated as such. MIDI files.rmi extension). the soundtrack wave block is considered to be a newly created audio file since it was extracted from the video. Also. the MIDI file is placed at the Session Display’s insertion point. A filmstrip graphic that represents the video appears on one track. make sure Adobe Audition’s Video Window is open (View > Show Video Window). but you’re welcome to re-run this command as many times as desired to place multiple MIDI files in a session. video files. You can open several wave files at once by selecting them with the Shift key pressed (for contiguous selection) or Ctrl key pressed (for non-contiguous selection). .

If a file has cues in it. which displays Adobe Audition’s Choose a video file dialog. Think of this section of the Insert menu as a MRU (“Most Recently Used”) list of open waveforms. only the last 10 opened will appear on the Multitrack View’s Insert menu. If you want to insert an item anywhere in the session window. a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it. If you need to access another open waveform whose name isn’t listed. just click on it. This allows you to insert either the whole file. File/Cue List This command activates Adobe Audition’s Insert Into Multitrack dialog.316 CHAPTER 17 Insert Menu – Multitrack View Audio from Video File Insert the soundtrack from one or more supported video files to the session window using this command. This window lists all of the files that are currently open in Edit View. use the Switch To… command or Adobe Audition’s Organizer window.) Note: You’re limited to inserting audio from just one video file at a time. Note: If you have more than 10 waveforms active in Edit View. Currently Open Waveform List Entries for up to 10 open waveforms are listed. . or expand it and grab one of the cue ranges directly. but feel free to re-run this command as often as need to insert addition video soundtracks into your session. just drag it off the list and drop it on the desired track. the Insert into Multitrack window automatically closes. (This dialog is virtually identical to a normal Windows Open dialog. Insert Into Multitrack Dialog To place an item from the list at the session window’s insertion point. No matter which insertion method you choose.

and the bass guitar waveform as the Process wave. In this example you would have the drum waveform as the Analysis wave. you can also alter the dynamic properties of the result with a variety of settings to otherwise expand. which results in the second waveform taking on the amplitude characteristics of the first waveform. Envelope Follower The Envelope Follower varies the output level of one waveform.317 Chapter 18: Effects Menu – Multitrack View T his menu contains all of Adobe Audition’s “exclusively multitrack” effects. Envelope Follower Dialog In addition to applying an amplitude envelope to a waveform. The amplitude map. . or envelope of one waveform (the Analysis wave) is applied to the material of a second waveform (the Process wave). • Make a selection that covers the part of both wave blocks you want to process. This lets you. To initiate Adobe Audition’s Enveloper Follower effect: • Position the wave blocks so that the sections you want to process together are lined up. based on the input level of another. compress. for example. have a bass guitar line which only sounds when a drum is being hit. gate. or limit the resulting signal.

If Joint Channels is checked. thus preserving the stereo center-channel image. Any waveform in the session window may be selected from this drop-down list. . This essentially “pushes” the graph up or down by the gain given. For instance. If there’s suddenly a quiet portion that drops 30dB. and both channels will be amplified to by the same amount. a total value of about 30 milliseconds is about as low as you can go without introducing these effects. • Access the Envelope Follower from the Effects pull-down menu. Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. Process Wave Select the waveform containing the material to apply the amplitude to. the Release is the time it takes for the end of the pulse to reach the desired level. Thus. For example. sometimes causing the surrounding background noise to get louder on one channel at a time – which can sound strange. the Effects toolbar. Level Detector Set the following: • Input Gain: the gain (measured in dB) added to the signal before it goes into the Level Detector (the section that detects the current level). Output To Choose the track to output the resulting waveform to. The following are the major components of the Enveloper Follower dialog: Analysis Wave Choose the waveform from which to “read” the amplitude envelope. Gain Processor Set the following: • Output Gain: the gain (measured in dB) applied to the output signal. • Joint Channels: With stereo audio files. if the Attack and Release times are each set to 5 milliseconds (making 10 milliseconds total). a loud drumbeat in the left channel will make the background noise sound louder in the right than in the left. This means a loud drumbeat on the left channel will also cause the right channel to be reduced in level by an equal amount. each channel can be compressed independently. For example. This entry defaults to the next available track. • Release Time: the release time (measured in milliseconds) applied just before output. It’s the last step performed on the audio. • Attack Time: the attack time (measured in milliseconds) applied just before output. Any waveform in the session window may be chosen from this drop-down list. Release Time is the time it takes the end of a previous output level to reach the specified output volume. audible effects (such as a “vibrating” sound) can be heard at around 1000 Hz/ms total. both channels are used to find a single input dB value. or the Effects section of the Organizer window.318 CHAPTER 18 Effects Menu – Multitrack View • Ctrl+Left-click each wave block you wish to process to give them focus. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. then a vibrating sound at 100Hz will be heard. If the sum of the Attack and Release times is too short (less than 20 milliseconds total). it will take the amount of time specified in this field before the output actually drops to its corresponding volume level.

Lookahead Time Lookahead Time is used to handle sharp spikes that might occur at the onset of a louder signal. Thus. the Release is the time it takes for the end of the pulse to reach the desired level. etc. within the current frequency range. This occurs because the RMS value calculated was mapped to a peak sample value for output. Low Cutoff This is the lowest frequency that dynamics processing will affect. For example. if the Attack and Release times are each set to 5 milliseconds (making 10 milliseconds total). and for brief instances. leave this setting at 0. if the RM value is -20dB. with values of 2000 for Low Cutoff and 9000 for High Cutoff. • RMS is the graph interpretation method that more closely matches the way people hear volume. which may be desirable in certain compression scenarios since it can enhance the impact of. You can define a band. it will take the amount of time specified in this field before the output actually drops to its corresponding volume level. For example. to which compression or expansion is applied. • Release Time is the release time (measured in milliseconds) applied when retrieving the current amplitude infor- mation. this is obviously not desirable if you’re using limiting in order to reduce the maximum amplitude of the audio. and is considered by many to be outdated. The Low Cutoff point is the bottom boundary in defining this band. then a vibrating sound at 100Hz will be heard. For instance. within the current frequency range.ADOBE AUDITION 319 User Guide • Attack Time: the attack time (measured in milliseconds) applied when retrieving the current amplitude information. It equates to the RMS value times two. This mode causes the output to be exactly the RMS amplitude that’s specified in the graph. with values of 1000 for Low Cutoff and 5000 for High Cutoff. this setting should be a one-half of the current sample rate (24000 for 48kHz. This method is basically here for backward compatibility. audible effects (such as a “vibrating” sound) can be heard at around 1000 Hz/ms total. For example. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz. At times. High Cutoff This is the highest frequency that dynamics processing will affect. where the Attack is the time it takes for the start of a pulse to reach the desired output volume. Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume. That is. then the equivalent peak value will be -40dB. say. or range. You can define a band. a drum hit. However. If the sum of the Attack and Release times is too short (less than 20 milliseconds total). For example. Release Time is the time it takes the end of a previous output level to reach the specified output volume. To use the entire frequency range of the source material. • Peak/RMS: Two methods of graph interpretation are provided for this effect: Peak and RMS. 11025 for 22kHz. dynamics processing only affects audio in the frequency range of 2kHz to 9kHz. The High Cutoff point is the bottom boundary in defining this band. a total value of about 30 milliseconds is about as low as you can go without introducing these effects. • Peak Mode is a little more difficult to use than RMS. To use the entire frequency range of the source material. these onsets can go beyond the limits of your compressor settings.). or range. a limiter (flat horizontal line) at -10dB causes the RMS amplitude of the result to average -10dB (where 0dB is a maximum amplitude sine wave without clipping). . to which compression or expansion is applied. If there’s suddenly a quiet portion that drops 30dB.

each control point must be higher than the one to its left). A line that flows directly from the lower-left to the upper right (which is the default) depicts a signal that’s been left untouched. For example.) Note: More information on Adobe Audition’s graph controls can be found in the “Looking at the Work Area” chapter. it must have points in the two default corners (-100. thereby altering the dynamic range. a spike will stay loud until all of the attack times have elapsed. Presets The Envelope Follower effect supports Presets for storing and recalling your favorite settings. More information about Presets can be found in the “Looking at the Work Area” chapter. Adjusting the shape of the line will adjust the input or output assignments. the closer the spline curve will be to those points. -100 and 0. The more control points there are clustered together.e. For instance. Flat Press this button to remove all control points with the exception of the points at each end of the graph line. Frequency Band Splitter Use the Frequency Band Splitter to take a selected waveform block (or a highlighted portion thereof) and make up to 8 copies of it. rather. with a Lookahead Time of 0. leaving everything else unchanged. Graph The graph depicts input levels along the x-axis (left and right) and the new output level along the y-axis (up and down). with each copy assuming a different frequency range of the original. thereby straightening out the line. since every input value goes to the exact matching output value. the points control the shape of this curve. You can also draw an inverse line (a line from upper-left to lower-right) that will dramatically boost low amplitudes while dramatically surpassing high amplitudes. Note: For a graph to be invertible. (In other words. you can boost all input that has a level of around -20dB.320 CHAPTER 18 Effects Menu – Multitrack View Note: The spikes occur because it takes a little time to determine (the Level Detector’s attack value) and react (the Gain Processor’s attack value) to the current signal level. To get the curve closer to a control point. Otherwise. Use Spline Curves when you want very smooth curves instead of straight lines (with their discontinuities at the control points). if an effect function with a compressor characteristic is being displayed. pressing Invert changes the graph to one with the corresponding expander characteristic. . best fit curve instead of a straight line between control points on the graph. the line will not ordinarily travel directly through the control points. 0) and its output level must always increase from left to right (i. instead of right on top of the transient. so Lookahead Time will actually cause the attacks to start before the audio gets loud. Split points are determined by the crossover frequencies specified. Invert The Invert button changes the graph to one that will function as the exact opposite. all quiet sounds will be loud. Splines Check this option to generate a smoother.. Each copy of the waveform is placed in its own track in the session window. and loud sounds will be quiet. When you use Spline Curves. click to create more control points near the point in question.

• Access the Frequency Splitter from the Effects pull-down menu. using the default setting of 3 bands with crossover values of 800 and 3200. Max FIR Filter Size Adobe Audition’s Frequency Splitter effect uses an FIR (Finite Impulse Response) filter. This is usually the original name of the waveform plus its frequency range. To initiate the Frequency Band Splitter dialog: • Make a selection that covers the part of the wave block you want to process. This is unlike IIR filters. which can have phase error (often audible as a ringing quality). one from 800 to 3200Hz. The number of active text boxes is based upon the number of Bands chosen. . try increasing this number to get a more accurate filter. Crossovers These are the crossover frequencies that are used for split points. enter different crossover frequencies in these boxes. • Ctrl+Left-click the wave block you wish to process to give it focus. However.ADOBE AUDITION 321 User Guide Frequency Band Splitter Dialog For instance. The default FIR Filter Size of 320 should work most of the time. Higher numbers create higher accuracy in the frequency filtering that the effect does. three copies of the selected waveform are made: one that has the frequencies of the selected wave from 0 to 800Hz. based on the sample rate). the Effects toolbar. The names of the copies are listed in this column. as determined by the Crossovers. Output Waves Adobe Audition automatically assigns each copy of the original waveform block a new name. or the Effects section of the Organizer window. If you don’t want to use Adobe Audition’s default values. if you get any distortion or ringing in the filtered waves. and one from 3200 to 22050Hz (or whatever the maximum frequency present is. Note: If you have more than one wave block selected. The following are the major components of the Frequency Band Splitter dialog: Bands Choose the number of split points here. which maintains phase errors over the response curve. the Frequency Band Splitter effect will be unavailable. The original waveform will be copied “this many times” with each copy having a different frequency range.

This is normally some kind of synthesized sound to use to replace the vocal chords. usually the instrument) with the input of the other (the control signal. usually an instrument of some kind and a voice. the instrument (the process sound) could be made to “sing” by affecting it with the voice (the control sound). or the Effects section of the Organizer window. In the example above. which can affect processing speed and quality. FFT Size The FFT Size parameter specifies the size of the FFT to use. allowing for the sound of one instrument to be “controlled” with the other. • Access the Vocoder from the Effects pull-down menu. the Effects toolbar. This is usually a vocal of some kind. choose the waveform (from any that are already active in the session) to act as the control signal. The following are the major components of the Vocoder window: Control Wave From this drop-down list. the amplitude of given frequencies in the process signal are made to fluctuate in response to the same amplitude changes in the control signal. and modulates one signal (the process signal. . • Make a selection that covers the part of both wave blocks you want to process. Output To Choose the track to output the resulting waveform. Process Wave Use this drop-down list to select the waveform (from any currently open in the session window) to act as the process signal. Vocoder Dialog To initiate Adobe Audition’s Vocoder effect: • Position the wave blocks so that the sections you want to process together are lined up. More information about Presets can be found in the “Looking at the Work Area” chapter. Vocoder A vocoder is a special effect which takes two inputs.322 CHAPTER 18 Effects Menu – Multitrack View Presets The Frequency Splitter effect supports Presets for storing and recalling your favorite settings. This entry defaults to the next available track. usually the voice). • Ctrl+Left-click each wave block you wish to process to give them focus. Specifically.

Set this value to 100% for full vocoding. you want none of the source voice itself carried over. narrow resynthesis windows will give better time resolution in the event that the vocoded signal sounds too smoothed out. but all of the formant information. Usually this can be zero. Note: Smaller values can produce a hum. • Smaller numbers make for a faster processing time. Narrower windows will make hard consonants sound clearer. Interval Size This sets the time interval (measured in milliseconds) per FFT taken. as it will just barely affect the process wave with the voice. more of the speaker’s voice characteristics get vocoded in. or separate. while 50% keeps more of the original waveform. Amplification You can set an amplification amount in dB to adjust the final waveform by.ADOBE AUDITION 323 User Guide • Higher values (like the default value of 4096) mean cleaner-sounding filters. use 3 or 4 overlays. but will take longer to process. and with higher overlay settings. More overlays can produce smoother results. Resynthesis Window Choose the size of the window used for resynthesis of the vocoded signal. raise or lower this to compensate. For ease of use. . while large values can be too blocky sounding. so the synthesizer “talks”. but will take a bit longer to process. Values between 10 and 30 milli- seconds usually work best. Overlays This is the number of FFTs that are overlapped in processing the vocoder. a resynthesis window of 1 or 2. but the results may sound choppier. but if the results are too quiet or loud. you can simply choose a percentage to use for Window Width in specifying the interval used per FFT taken. A value of 15% will produce a subliminal effect. more formants and less of the actual vocal tone from the source is used. With higher values. Values of 3 to 12 work well. The resynthesis window number should never be larger than or equal to the number of overlays. As this value gets lower. the source waveform’s underlying base frequency (voice) from the vocal formants. but higher overlay settings may require you to vary the interval size used. Even larger FFT sizes should produce extra smooth results. Window Width As an alternative to setting the Interval Size. A value of 90% will generally produce good results. try selecting Window Width and set it to about 90%. Affect Level This sets the amount of processed (vocoded) signal that ends up in the resulting waveform.) Ideally. (This shouldn’t be confused with the speaker’s formant characteristics. Vocal Crossover This frequency setting is used to filter out. and FFT sizes from 2048 to 6400.

324 CHAPTER 18 Effects Menu – Multitrack View .

pressing the Play control will continuously loop the current selection (or the entire session. To do this. Use the drop-down list to select the device to be used for triggering. press the Stop control or uncheck Monitor Record Level(s) on the Options menu. any of Adobe Audition’s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard. . Monitor Record Level(s) Checking this option will activate the Level Meters and start monitoring the recording source. if nothing is selected). or any other device capable of issuing a MIDI command. Show Levels on Play and Record This item enables or disables Adobe Audition’s Level Meters used to visualize audio levels during recording and playback. go to Options > Device Properties and click on the MIDI In tab.325 Chapter 19: Options Menu – Multitrack View T he Options menu contains commands for customizing Adobe Audition’s settings for the Multitrack View. Note: Before attempting to enable MIDI triggering. Select MIDI Panic Button to send an All Notes Off command to every MIDI device that Adobe Audition knows about. the Play control plays the selection (or session) once and then stops playback. Use the keyboard shortcut of F6 to quickly toggle the status of the MIDI Trigger Enable function. which is useful for setting levels before recording. a sequencer. MIDI Panic Button Sometimes MIDI devices get out of sync and get “stuck notes” where a note won’t stop playing. Loop Mode The Loop Mode option toggles Adobe Audition’s Play control between Loop and Play states. • When there is no checkmark. To quit monitoring. such as a soundcard’s built-in MIDI interface or a MIDI interface card. Disable this option if you don’t wish to have shortcuts respond to MIDI events. MIDI Trigger Enable By checking MIDI Trigger Enable. • When Loop Mode is checked. you’ll need to choose a device for MIDI In that’s recognized by Windows.

go to Options > Device Properties to bring up the devices window. if you’re only looking at seconds 4 through 27 on a wave block when you double-click on it in Multitrack View. SMPTE Slave Enable With this option turned on. Note: Before attempting to enable SMPTE sync. With SMPTE Slave enabled. and Playback Synchronized when actually established. Locations can be entered in either of the two formats listed to the right of the SMPTE Start Time Offset text box. Then. selecting any format prefixed with “SMPTE” (“SMPTE 30 FPS”. This is the time location that Adobe Audition will wait for before playback begins. . After checkmarking SMPTE Master Enable from the Multitrack View > Options menu. a VCR or tape deck. SMPTE Master Enable Besides being able to slave to time code from another source. To configure the MIDI port for your system.) To do this. Adobe Audition will update its current sync status in the lower left of the Status Bar to Opened MIDI Input Device when waiting. the current selection and view information will be transferred to the Edit View. you'll be looking at seconds 4 through 27 of that wave in the Edit View. a MIDI interface card. and then select your MIDI input device from the SMPTE Slave Device drop-down list.326 CHAPTER 19 Options Menu – Multitrack View Synchronize Blocks with Edit View When Synchronize Blocks with Edit View is checked and you switch to Adobe Audition’s Edit View from Multitrack View. such as a MIDI sequencer. where you can enter a time offset to use when synchronizing to SMPTE time code. This can be done by right-clicking on the ruler and selecting Display Time Format. for example). Select the MIDI In tabbed window. Synchronizing when establishing lockup. Note: The SMPTE code that Adobe Audition generates must be output through a MIDI port. Adobe Audition will output the SMPTE time code to whichever device is selected in this box. Adobe Audition can generate “master” time code for another program or a piece of hardware to follow. you need to select a SMPTE time code format for the ruler. go to Options > Device Properties to bring up the devices window. SMPTE Start Offset This command brings up the General tab of Adobe Audition’s Session Properties window. or with the appropriate hardware. For example. This is commonly referred to as slaving. The same goes with selection information if you highlight an area. or other hardware device options. then hit F12 or click the leftmost button on the File toolbar to switch views. On the MIDI Out tab you’ll see a SMPTE Output drop-down list box. you’ll need to choose a device for MIDI In that is recognized by Windows (such as a soundcard’s built-in MIDI interface. Adobe Audition can synchronize its playback to SMPTE time code (MTC) generated from another device.

Pressing the F4 key is a fast way to display the Settings dialog. and don't want the hard drive trying to keep up with the background mixing only to have you make more edits which invalidate the previous mixing. a MIDI interface card. or other hardware device options. multitrack behavior. Background mixing pre-mixes audio before the audio is played. Note: Complete documentation on the Settings dialog can be found in the “Options Menu – Edit View” chapter. Set MIDI In (Sync/Trigger) to the input to be used for SMPTE sync (commonly YourDevice: Sync). you’ll need to choose a device for MIDI In that is recognized by Windows (such as a soundcard’s built-in MIDI interface. Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer (a.a. and miscellaneous other program characteristics in Options > Settings. SMPTE options. Settings You can customize Adobe Audition’s colors. Volume Control) so that you adjust sound card recording levels. However.k. you may want to pause background mixing if you are making lots and lots of edits. go to Options > Device Properties to bring up the devices window.ADOBE AUDITION 327 User Guide Note: Before attempting to enable SMPTE sync. Metronome This command brings up the Metronome tab of Adobe Audition’s Session Properties window.) To do this. Engage this option to take advantage of this sample-accurate sync when slaving to SMPTE through such sound cards Pause Background Mixing Enable this option to halt Adobe Audition’s background mixing process. but in most cases you’d be better off with it enabled. Adobe Audition will function with background mixing turned off. Sample Accurate Sync Some sound cards are capable of sending sample-accurate sync timing information to Adobe Audition. use of memory and hard disk space. This can relieve some of your computer’s processing load at playback time if some audio can be mixed before you even hit the Play button. . Note: The Metronome function is fully documented in the “View – Multitrack View” chapter.

MIDI output. The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations. and MIDI input devices. or any other device capable of issuing a MIDI command. Note: The Device Order dialog is fully documented in the “Options Menu – Edit View” chapter. Note: The Keyboard Shortcuts dialog is fully documented in the “Keyboard Shortcuts” chapter. you can simply press Ctrl+X. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. you can execute commands from a MIDI keyboard. Shortcuts (Keyboard & MIDI Triggers) Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and/or MIDI keyboard. . instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a wave block. Note: Complete documentation on the Device Properties dialog can be found in the “Options Menu – Edit View” chapter. Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system’s playback. a sequencer. recording. as well as input and output of MIDI signals. This type of shortcut is referred to as a MIDI Trigger. For example. Likewise.328 CHAPTER 19 Options Menu – Multitrack View Device Properties The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms.

the Encode to WMA9 option will not be available. and your Play Track and Play All buttons will not be accessible.329 Chapter 20: Multichannel Encoder A dobe Audition includes the Multichannel Encoder. Multichannel Encoder Requirements To achieve proper “5. Elements of the Multichannel Encoder The Multichannel Encoder dialog box contains several elements. it is necessary to meet the following requirements: • A sound card installed and selected that offers at least 6-channel analog output. . Then launch the Multichannel Encoder from the View menu. preview the current mix and then Export the session as an encoded WMA Pro version 9 Multichannel file. first open an existing Adobe Audition session. you next want to achieve a basic stereo mix balance with your desired track volume. a self-contained dialog where you can access the tracks of any existing Multitrack session. If you have an earlier Windows Media version on your PC. To be able to Export and Encode your project to a 6-channel Windows Media file. In the Multichannel Encoder dialog. as well as a special interleaved device driver that is compatible with the Microsoft DirectSound multichannel format • Microsoft Direct X 8. which are described in detail below. you must have the Windows Media 9 runtime installed. you can individually pan each track to your multichannel setup.1 Surround” preview playback from the Multichannel Encoder.0 or later installed If your PC does not meet these requirements then you may receive a warning dialog. stereo pan and FX settings. The latest Direct X and Windows Media Updates are available on the Microsoft website. Once all your tracks are added. It is also possible to export your session as 6 Mono Wave files or as one interleaved 6-channel Wav file for use with an external Multichannel Encoder such as a Dolby or DTS encoder. To use the Multichannel Encoder. or create a new session in the Multitrack window.

this creates a selectable track entity that will appear in the Multichannel Encoder Track List the next time you launch it. it is also possible to access the “dry” track signal and pan it separately as well. You select which tracks and/or bus outputs you want to be included in the multichannel mix by checking the box at the left of each track. Track List At the top left of the dialog is the track list. the bus that the track was assigned to will appear in this track list. Any track that is unchecked here will be removed from the multichannel preview and will not be included in the export of the multichannel project. Instead. switching to the Bus Mixer tab and adjusting the balance of the wet and dry values. . This list will show all the tracks and buses in use in the current Adobe Audition multitrack session. Additionally.330 CHAPTER 20 Multichannel Encoder Multichannel Encoder dialog box. This is achieved by going into the Adobe Audition bus tab at the left of the track. Panning Tracks and Buses separately Note that if you have routed a track’s output to a bus in the Multitrack that you will likely not see that track appear in this track list. or into the Adobe Audition multitrack Mixer Window. and the bus output (which consists of all track signals routed to that bus) can be selected and panned as one mono or stereo signal. Once the dry value is set greater than 0.

Low Frequency Effects (Sub Bass) G. But for track 1 you might wish to achieve a different surround panning effect where a non-effected track signal is panned to the front channels. Front Right E. the VocodeStinger track is selected in the following example: Track List Surround Panner A B C D E F G Surround Panner options: A. Front Left C. For example. select any one track in the list by clicking on the track name so that it becomes highlighted. Once these settings are all made within the multitrack session. consider that track 1 of a session consists of a vocal wav file. You might have several other vocal tracks in this session as well and therefore you might add one Reverb effect on Bus A and set each vocal track’s output to Bus A to have all be effected by this Reverb. To perform panning adjustments on any track. while the effected bus output signal is sent only to the rear surround channels. If you set the track 1 bus wet and dry values each to a value such as 50 then you will be able to pan these two signals separately. This type of routing can be very useful for adding ambience and dimension to your multichannel mixes. launch the Multichannel Encoder dialog and you will then see that both Track 1 and Bus A are available as selectable entities that can be panned individually.ADOBE AUDITION 331 User Guide For an example. Panner Point . Left Surround B. Right Surround F. Center D.

when seated in the center of the speakers. the audio from the currently selected track is summed to a mono signal and sent discretely to this one speaker channel. FL + FR. as you pan in the five channel sound field. Ls + Rs. a portion of the sphere will appear dark blue in color to indicate the image of the sound field. In this mode. However. This is an easy way to send the complete track signal all to one channel. these stereo sources will retain their “stereo image” while being routed to the multiple channels. The Center channel always receives a summed to mono (L + R) signal. Note that as you position the Panner Point within the circular sound field the light blue Power Indicator lines coming from the speakers will change in length. To follow is a description of each of the options in this list: Surround panner. Typically most LFE components in 5. stereo Sends the selected track’s signal as a stereo source directly to only the rear Left Surround and Right Surround speakers in a 50/50 stereo balance. That is. if your track includes a stereo file. stereo Sends the selected track’s signal as a stereo source directly to only the Front Left and Front Right speakers in a 50/50 stereo balance. Panning Assignment Selector Panning Assignment Selector At the top right of the dialog is the Panning Assignment selector where you can choose to either use the Panning Interface to position your track sound source. LFE only Sends the entire track signal to the LFE channel. stereo source This option allows you to use the Panning Interface to position your sound source by dragging the Panner Point to the desired position.332 CHAPTER 20 Multichannel Encoder The Surround Panner allows you to position the selected track anywhere in the main speaker sound field by left clicking and dragging the white Panner Point. . This indicates the power balance of your sound source coming from each of the five main channels. the blue area indicates where the listener would perceive the sound coming from. panning the sound source to any location in the sound field will result in the summed mono signal being fed to all channels. The Adobe Audition Multichannel Encoder itself does not apply any filter to the LFE channel audio. It also keeps your stereo left and right signals from your track discrete when panning in the sound field. or to make fixed panning assignments for your track. your track’s right signal will be sent to the Front Right and Right Surround channels. Additionally. summed to mono This option allows you to use the Panning Interface to position your sound source. the left stereo signal will be sent to the Front Left and Left Surround channels. this option always sums the track’s signal to a mono signal.1 surround playback systems are set to a cutoff of < 80 Hz or < 120 Hz. Therefore. Your monitoring system will apply the proper crossover frequency cutoff for reproducing the audio sent to the LFE channel. Once the Panner Point is in any one of these speaker locations. Surround panner. You can also drag the Panner Point outside the sound field directly on top of one of the five main speakers or on top of the LFE speaker. For example.

FL only. The use of a bass management circuit in your monitoring system will therefore allow you to compensate for these playback scenarios and adjust your mix accordingly. Therefore. it is possible to overdrive the end listener’s system by sending too much overall sub-120 Hz audio to the LFE channel. or on your Exported wav files. With this slider set to zero. it will route the track’s left channel signal to the Center channel and the track’s right channel signal to the LFE channel discretely. This is the same as dragging the Panner Point directly onto one of the five main speakers in the Surround Panner interface. nor does it apply any filtering during preview.* If the currently selected track is assigned to only the LFE channel. stereo Note that this option is most useful with a stereo source file – when this option is selected for a stereo track. Therefore. However. Ls only.ADOBE AUDITION 333 User Guide Center + LFE. Sub Channel Level Slider Sub Channel Level Slider When in one of the Surround Panner modes. It is also worth noting that Adobe Audition’s Multichannel Encoder does NOT apply filtering to audio sent to the LFE channel. Rs only These options each sum the selected track’s audio to a mono signal and send it all to the selected channel. some playback systems and even encoder systems will apply a + 10 dB boost to LFE content. then the same signal will be sent equally to both the Center and LFE channels. Often home receivers and LFE equipped speaker systems will employ a bass management circuit on playback that will automatically route ALL sub-120 Hz or lower frequencies from all channels to the LFE speaker. It is recommended that you utilize a Bass Management circuit in your monitoring setup to ensure that you hear the representative mix levels that might be reproduced in an end listener’s playback system. Center only. Center Channel Level Slider Center Channel Level Slider . the Panner Point positions the sound source balance between the five main channels. exporting or encoding. If this option is selected for a track containing Mono source file. This allows you to apply your own specific filtering as needed for your projects. Further. you can also raise the amplitude of this slider to additionally send the track’s signal to the LFE channel. this slider will attenuate the amount of this track’s output sent to the LFE channel. any low-pass filtering needed for your final LFE channel content should be applied to your audio within the Adobe Audition Multitrack. FR only. no track audio is sent to the LFE channel.

the Center slider determines the balance of the FL. two envelope lines are shown in the waveform display window. so you may only see the yellow line until you change the pan position. The yellow envelope line controls the Left/Right balance and the green envelope controls the Front/Surround balance. Center. follow these steps: 1 Select and check the box for one of your tracks in the Track List. Pan Envelope Automation Pan Envelope Automation When the Pan Envelopes checkbox is selected.334 CHAPTER 20 Multichannel Encoder When in the Surround Panner modes. The position of the Panner Point then determines the positional panning according to this FL. With this slider at 100. Center and FR channels. The yellow line starts on top of the green line. These envelopes are interactive with the positioning of the Panner Point in the Surround panner interface. 4 Left click in the waveform display at the desired time location where you would like to set a pan destination for the sound source. though. FR balance ratio. stereo source or Surround Panner. You will see two envelope lines appear in the Waveform display. the Center channel receives an equal % of signal as the FL and FR. select either the Surround Panner. summed to mono options. 3 At the top right of the Waveform display section. To create a dynamic pan on a track. no signal is sent to the Center channel. Track Level Slider Track Level Slider In any selected pan mode. It is possible to create dynamic panning over time by using these envelopes. this level slider controls the amplitude level of the currently selected track within the Multichannel mix. With this slider at 0. . This moves the vertical cursor to this time location. check the Pan Envelopes checkbox. 2 In the Panning Assignment menu.

To Zoom back out again. click on the Clear All button at the top right of the waveform display area. 8 To clear all envelope handle points and reset the track to flat envelopes. The four available options here are: • Zoom In • Zoom Out • Zoom Full • Zoom to Cursor You can also zoom in to a specific time area by right click-dragging the desired area on the time ruler itself. . then simply deselect the Pan Envelopes checkbox. place the mouse cursor over the time ruler which runs across the bottom of the waveform display and right click to bring up the context menu. If you wish to delete any single handle. This will zoom into the time area directly beneath the mouse pointer. simply drag it up or down beyond the boundary of the waveform display area. 6 You can also left click directly on either of the envelope lines to create additional adjustable “handles” for shaping the envelope lines. 10 Place the playback cursor back to the start of the track and select one of the Play buttons. If you prefer to keep your track panned to a fixed point throughout the duration session. Another handy Zoom method is to place the mouse pointer anywhere within the waveform display and turn the mouse wheel. Zooming There are several options for zooming in and out within the Waveform Display. Reversing the mouse wheel rotation will zoom back out incrementally. 9 Select the Splines checkbox if you prefer the envelope to use rounded Spline curves for smoother transitions between points. These handles now move with your positioning of the Panner Point.ADOBE AUDITION 335 User Guide 5 Now move the Panner Point to the desired position in the five channel sound field. Note that as soon as you move the Panner Point that two “handle” points are created on the Envelope lines within the Waveform display. right click and choose Zoom Out or Zoom Full from the context menu described above. you can drag the Panner Point during playback and hear your static pan positioning in real-time. and the Panner Point will move in tandem to show you the relative position in the sound field during playback. 7 These Envelope handles are now also able to be edited by left click dragging them to any position. You can toggle the Pan Envelopes setting on/off and any envelope points you have created for this track will be retained. Watch the Panner Point position and listen for the dynamic pan setting you just created. Note that if the Pan Envelopes checkbox is not selected. This removes the Envelopes from the waveform display and allows you to set the Panner Point to any static position you like. To access the four available Zoom commands.

The overall 6channel level can be attenuated by the Master Level slider beneath the meters. regardless of the current zoom level. the meters will display the output of only the selected track. Play Track This starts preview playback from the cursor location and only plays the currently selected track. nor will it affect the levels measured by the 6channel Output Meter. Use the Master Level slider for that use. Playback will always play to the end of the track. These levels are what the actual levels will be for your exported wav or wma files from the session. Playback will always play to the end of the session. Preview Volume Slider Preview Volume Slider Controls the volume of the preview playback – note that this slider will not change the amplitude of the exported WAV or encoded WMA files that are created from the Multichannel Encoder. Play All This starts preview playback from the cursor location and plays the multichannel mix with all tracks that are checked in the Track List. regardless of the current Zoom level. .336 CHAPTER 20 Multichannel Encoder Transport Controls Transport Controls Rewind to Start This left arrow button will place the cursor back at the start of the track. Output Meters Output Meters This set of six meters displays the output of each of the channels during Preview.1 mix. and during Play All the meters will display the output of the complete 5. During Play Track. This slider should be used to adjust your playback volume without affecting the amplitude of the exported files.

Preview Device Selection Preview Device Selection The Preview Device field displays the currently selected device that Adobe Audition will route its 6. press the Change button to the right of this field.1 playback. such as the Creative Labs Audigy. will display only one device driver listed.channel output to. .1 channel mix so that none of the channels are clipping.ADOBE AUDITION 337 User Guide Master Level Slider Master Level Slider The Master Level slider will affect the audible level of your preview playback. and this is the device that should be selected since the sound card’s driver will route the 6 channels of audio to the correct speakers. this slider is primarily offered to adjust the amplitude of the exported or encoded files. please see “Multichannel Encoder Requirements” on page 329. Multichannel Preview Options dialog box Some sound cards that offer 5. This field will also show the currently selected bit rate for preview playback. This will launch the Multichannel Preview Options dialog: Note: For information about device requirements. however. Use this slider and reference the meters to optimize the overall peak amplitude of the 5. To make changes to these device and bit selections.

Preview Buffer Size Slider This slider is offered to allow adjustment of the size of the buffers used for both the Play Track and Play All functions. it shows up as “M-Audio 1010LT Multichannel.1 surround preview: • Out 1 – Front Left speaker (FL) • Out 2 – Front Right speaker (FR) • Out 3 – Center speaker (C) • Out 4 – LFE . A higher latency means that it will take longer for you to hear the result of changes made to any sliders or panning adjustments made while previewing. For these cards that offer this special “interleaved” multichannel driver. you can select one of the 24 or 32 bit rates here to allow the preview to more accurately play back the higher bit rate content of your session.338 CHAPTER 20 Multichannel Encoder Some professional sound cards such as the M-Audio Delta 1010/1010LT or 410. you should ensure that your speakers are connected in this order to correctly reproduce the 5. Adjusting this slider farther left will reduce the buffer size that can result in lower latency. then you should choose the Export to 6 mono wav files option.wma files will be created. Frontier Design Dakota and EgoSys WaMi units offer a single Multichannel Device driver. .wav and 6-channel . in addition to several individual stereo drivers. which can allow for a more stable preview playback at the cost of raising the latency. If you have a fast PC and/or if the session you are working on is a small one with few effects and panning envelopes. you should select this from the list. This can be kept at 16 bit. but if your session includes higher bit rate files.Sub Woofer speaker (LFE) • Out 5 – Left Surround (rear) speaker (Ls) • Out 6 – Right Surround (rear) speaker (Rs) Note that the above channel order is also the order in which your Exported 6-channel . 16 bit. For example. for the M-Audio Delta 1010LT sound card that offers this type of driver. it may be possible to reduce the buffer size and take advantage of lower latency. Channel Order When connecting your speakers to the analog outputs of a Multichannel sound card that offers the required interleaved multichannel driver. If your project requirements include a different channel order (such as if you are submitting a master for use in a DTS encoded project or other surround format). Preview Format Selector Use this drop down menu to select the bit rate of the preview playback material that is sent to your sound card. If dropouts occur during preview playback.1 channel configuration listed below. then the best action is to try moving this slider to the right.” These driver types will accept the 6-audio input from Adobe Audition and automatically route it to the standard Microsoft 5. The slider can be adjusted to the right to create larger buffer sizes. and if your sound card supports higher bit rate playback. Echo Layla24. but at the cost of less preview stability.

1 speaker placement. The LFE/Sub Woofer is a nondirectional speaker. Left Surround B. therefore. To select your export/encode options. Ideally. The field in the main dialog indicates the currently selected format.ADOBE AUDITION 339 User Guide Speaker Placement The recommended physical speaker placement is also important for accurate monitoring. A B C D E Recommended 5. The following graphic illustrates the recommended setup for 5. This launches the export dialog: . Front Right E. Right Surround Export options Once you have completed mixing your multichannel project you will then want to export it to your desired file format. and this format is retained from your last used export option.1 speaker placement: A. Center D. the five main speakers should be placed at ear level and each at an equal distance from your listening position. Adobe Audition includes the ability to encode directly to an interleaved 6-channel Windows Media 9 Pro (WMA) file or to export into two WAV formats. select the Export button at the bottom right of the window. Front Left C. it can be placed anywhere in the room on the floor. but it would be practical to try moving it to slightly different floor positions to find the most accurate response within your environment.

the following would be how the files would actually then be named for each Export format: • For the 6-Mono Wav Export option. The text entered in the name field will be used as a common prefix for saving each exported file or files. Since it is possible to Export to one of three different options (6-Mono Wav files. there are also different naming conventions for each. if the text “BossaNovaBed” were entered in the name field. six files will automatically be rendered and saved with these names: • 1 – “BossaNovaBed _FL.wav” (Front Right channel file) • 3 – “BossaNovaBed _C. You can type a new name in this field if you like. you can then select the desired Export format.340 CHAPTER 20 Multichannel Encoder Multichannel Export Options dialog box Multichannel Session Name field The Multichannel Session Name field will automatically be completed with the name of your Adobe Audition Multitrack session if you had already saved the session and named it. and in the lower Filenames to be saved the full filename(s) will be listed to show you how the Exported file(s) will actually be saved. The following section explains the file naming conventions used for each scenario.wav” (Front Left channel file) • 2 – “BossaNovaBed _FR. one interleaved 6-channel Wav file or encoded as one interleaved WMA 6 channel file). Once the name text is entered into the name filed. For example.wav” (Center channel file) • 4 – “BossaNovaBed _LFE” (LFE channel file) .

wav” (Right surround channel file) • For the Interleaved 6-channel Wave Export format. then the multichannel file will automatically be “folded-down” to play as a stereo file. Save In This field lists the currently designated directory where the Export files are to be saved. This interleaved 6-channel wav file type is commonly used by many hardware and software encoding systems.com . However.wav mono files that typically can be used by any Windows audio application. not all Windows audio applications are capable opening or playing back wav files that are not mono or stereo. The six mono wav files option will create standard Windows PCM .ADOBE AUDITION 341 User Guide • 5 – “BossaNovaBed _Ls. • Encode as WMA 6-Channel: Multichannel WMA files are capable of being played back by anyone that has installed the Windows Media Player version 9 or later. Export Formats Here you select the desired Export format.wav” (Left surround channel file) • 6 – “BossaNovaBed _Rs. For more information on the Windows Media 9 technologies. however. which is defined as: • 1 . then use the Export to 6 Mono WAV files when you export. Below is a detailed description of each: • Export as six mono wav files: If you want to export to a format that can then be utilized by another audio software.wma”. one file will be rendered and saved as “BossaNovaBed. • For the WMA 6-channel Export format.Center • 4 . you can either type in an existing directory path.Front Left • 2 . please visit the Microsoft Windows Media website at: http://www.Left surround (Rear Left) • 6 .Front Right • 3 .LFE • 5 . such as to encode your project as Dolby Digital or DTS. • Export as one interleaved 6-channel wav file: The Windows PCM . Media Player 9 also requires that the user is running Windows XP as their operating system. or as 6-mono WAV files.windowsmedia. the file will be encoded in the WMA format and saved as “BossaNovaBed.Right surround (Rear Right) This channel order is also the typical one utilized as the desired input for Dolby Digital encoders. then the best option is to Export the project either as one interleaved 6-channel WAV file.1 speaker setup. or click on the button to the right of this field and browse to the destination of your choice. If the end user has the Windows Media 9 player on any other Windows version. To select a different directory. If a different channel order is required. if you are planning on preparing your project for a third party or specific encoding process. or by a software or hardware surround encoder. Choosing this option will save the multichannel session as one 6-channel file following the Microsoft “Wave Format Extensible” (which is also the SMPTE & ITU specification) channel order. assuming of course they also have a multichannel output sound card and 5.wav format spec also allows for a single file to contain multiple channels of audio.wav”. it is recommended that you ask the recipient exactly which format they require since channel order requirements can differ for different encoding systems.

and all frequency content greater than 80 sent to mains. select the WMA option and then the desired quality setting in the Format Options drop-down menu.342 CHAPTER 20 Multichannel Encoder Export options The WMA format utilizes a perceptual compression scheme and allows you to select from several different quality settings. These attenuation parameters allow you to control how the levels of the Center. The checkbox option Show codec formats that most closely match the session’s sample rate will limit the list of selectable WMA kbps option to those that are only the same sample and bit rate as the multitrack session’s files. automatically assuming your LFE content will be approximately this much lower in power than the main channels. you should inquire with the recipient as to the format specifics. Surround and LFE channels get mixed down with the front stereo channels and played back on a stereo output system. the crossover frequency points vary among different formats as well. For example. It is best to inquire with the recipient about all such requirements to ensure that the audience will hear your project the same as you are hearing it on your monitoring system! • Fold-Down to Stereo options: If the 6-channel WMA file is played back on a non-Windows XP system. Some systems also employ a boost of 10 dB for the LFE channel. Windows Media Player 9 will automatically perform a “fold down” or “downmix” of the 6-channel playback to a stereo playback. the larger the file size. duplication or other outside service with the intention of being encoded into other specific surround or media formats. If you uncheck this box. including Constant Bit Rate (CBR). DTS typically employs a crossover of 80 Hz. Channel ordering differs between surround formats. Variable Bit Rate (VBR) and Lossless. The Lossless option will compress to a smaller file size than wav. and vice-versa. Just as with stereo WMA files. Note: As mentioned above. The Windows Media Player 9 does this by accessing channel attenuation instructions that Adobe Audition’s WMA encoder writes into the file. if your project is to be sent out to a mastering. or on a system that does not have a 5. these components should be accounted for in your mix before you deliver your master files to the recipient. Also. This differs from the Dolby Digital system that utilizes a crossover point of 120 Hz. the complete list of WMA options will be presented. meaning that all frequency content of your channels lower than 80 Hz can be routed to a sub woofer. To encode your project as WMA. but will result in no fidelity loss whatsoever. the higher quality setting you select. .1 playback setup. Therefore.

The three numerical fields will default to –3. simply go to File-Open as usual and this will open the multichannel file as six mono files. Opening Encoded and Exported files back in Adobe Audition Once you have performed your Export from the Multichannel Encoder dialog and created the new WMA or WAV file(s). -3 and –12 dB as shown above. Note: 6-channel WMA files will only open as 6 mono files in Adobe Audition if you are running on Windows XP. interleaved multichannel WMA or WAV. you may wish to open the files back into Adobe Audition. Once these 6 mono files are created within Adobe Audition. Adobe Audition is capable of opening 6-channel WMA or WAV files.ADOBE AUDITION 343 User Guide Fold down to stereo dialog box To access the Fold down to stereo dialog. you can open the exported 6-channel file in Adobe Audition. You should of course be sure to set the pan assignment to the correct channel order if you wish to keep the same channel order as the opened 6-channel file. To open a multichannel file in Adobe Audition’s Edit View. This restriction is not imposed on 6-channel WAV files. If you are using Windows 98/Me/2000. . This is a restriction of the Windows Media file format imposed by Microsoft on these operating systems. If you wish to use Adobe Audition to save the files back as one single. they can then be edited and saved back as just as any mono file within any audio application that supports wav files. but you can enter any value in any of these 3 fields between 0 and –144 dB as desired. the 6-channel wma files will be automatically folded down to a stereo file utilizing the Fold-down to stereo parameters mentioned in the previous section. This will automatically split the file into six mono files you can then insert them into six tracks of an Adobe Audition multitrack session. it is necessary to launch the Multichannel Encoder dialog and assign each file back to its own individual channel and perform an export again as WMA Pro or 6-channel WAV as desired. To “save” these files back as one interleaved multichannel file. The defaults are usually good settings for most files. click on the Fold down to stereo settings button within the Multichannel Export Options dialog.

344 CHAPTER 20 Multichannel Encoder .

or controls. as well as commands that can be given using the keys on a standard MIDI keyboard instrument. Nearly all of these shortcuts. Go to Options > Shortcuts (Keyboard & MIDI Triggers) and assign one-key shortcuts to the effects and functions you use most.345 Appendix A: Keyboard Shortcuts A dobe Audition offers a wide variety of built-in keyboard shortcuts that can be used to speed up the editing process. You’ll be surprised how much quicker editing can be with one-key shortcuts. you might want to have the “N” key assigned to the Normalize effect. Many users find these shortcuts help them to work a lot faster than using the corresponding menu commands. may be changed using the dialog that appears when you access the Options > Shortcuts (Keyboard & MIDI Triggers) command (documented later in this chapter). The Shortcuts (Keyboard & MIDI Triggers) dialog The following list details the default shortcut commands that can be executed from your computer’s keyboard. Plus. the “Q” key set to activate the Quick Filter dialog. For example. there are dozens of other Adobe Audition functions that can be given keyboard shortcuts. You don’t however have to use the hotkey combinations we’ve created. toolbar icons. and the “R” key programmed to bring up the Noise Reduction window. .

346 Keyboard Shortcuts File Menu Shortcuts Ctrl+N Ctrl+O Ctrl+W Ctrl+F4 Ctrl+S Ctrl+Q Create a new waveform or session Open a new waveform or session Close a waveform or session Close a waveform or session Save a waveform or session Exit Adobe Audition Edit Menu Shortcuts Ctrl+C Ctrl+Insert Ctrl+X Shift+Delete Ctrl+V Copy the waveform or selection to the clipboard Copy the waveform or selection to the clipboard Cut the waveform or selection to the clipboard Cut the waveform or selection to the clipboard Paste the clipboard’s contents into the Wave Display or Session Display Paste the clipboard’s contents into the Wave Display or Session Display Display the Mix Paste dialog Undo the last action Undo the last action Redo the last action Trim the waveform so that only the highlighted part remains Delete the selection Display the Convert Sample Type dialog Insert the waveform into the Multitrack View’s Session Window Mark Intro Time Mark Sec Tone Paste the contents of the active clipboard to a new waveform Set the active clipboard to internal clipboard 1 Shift+Insert Ctrl+Shift+V Ctrl+Z Alt+Backspace Ctrl+Y Ctrl+T Delete F11 Ctrl+M 1 2 Ctrl+Shift+N Ctrl+1 .

Ctrl+Shift+Up Arrow Ctrl+Shift+Down Arrow Ctrl+K Ctrl+Up Arrow Ctrl+Down Arrow Set the active clipboard to internal clipboard 2 Set the active clipboard to internal clipboard 3 Set the active clipboard to internal clipboard 4 Set the active clipboard to internal clipboard 5 Set the active clipboard to the Windows clipboard Add the cursor position to the Cue List Add a track marker Add an index marker Repeat the last command (its dialog is shown) Repeat the last command (no dialog is shown) Enable both channels Enable the left channel only Enable the right channel only Adjust the channel left or track up Adjust the channel right or track down Refresh the display of blocks Check for hidden blocks Destroy the selected block Destroy the selected block now Group/Ungroup blocks Clear Volume Envelope points Clear Pan Envelope points Nudge the selected block to the left Nudge the selected block to the right Block color (next) Block color (previous) Choose color for block(s) Select previous block in track Select next block in track .ADOBE AUDITION 347 User Guide Ctrl+2 Ctrl+3 Ctrl+4 Ctrl+5 Ctrl+6 F8 Shift+F8 Ctrl+F8 F2 F3 Ctrl+B Ctrl+L Ctrl+R Up Arrow Down Arrow F5 Shift+F5 Shift+Backspace Ctrl+Shift+Backspace Ctrl+G Ctrl+Delete Ctrl+Shift+Delete . .

348 Keyboard Shortcuts Scroll/Select Shortcuts H J K L Ctrl+Home Adjust selection left side to the left Adjust selection left side to the right Adjust selection right side to the left Adjust selection right side to the right Scroll to the beginning of the waveform or session when the view is zoomed in Scroll to the ending of the waveform or session when the view is zoomed in Scroll the view one “page” to the left Scroll the view one “page” to the right Scroll the zoomed-in view to the left Scroll the zoomed-in view to the right Move the play cursor to the beginning of the waveform or session Move the play cursor to the ending of the waveform or session Move the play cursor one “page” to the left Move the play cursor one “page” to the right Move the play cursor to the left Move the play cursor to the right Move the play cursor to the start of the waveform or session Extend the selection to the beginning of the waveform or session Extend the selection to the end of the waveform or session Extend the selection one “page” to the left Extend the selection one “page” to the right Extend the selection to the left Extend the selection to the right Select the current view Select the entire waveform in Edit View. select all blocks in Multitrack View Select the previous block in the currently selected track Ctrl+End Ctrl+Page Up Ctrl+Page Down Ctrl+Left Arrow Ctrl+Right Arrow Home End Page Up Page Down Left Arrow Right Arrow Escape (Esc) Shift+Home Shift+End Shift+Page Up Shift+Page Down Shift+Left Arrow Shift+Right Arrow Ctrl+Shift+A Ctrl+A Ctrl+Up Arrow .

Alt+Page Up Alt+Page Down Alt+/ Alt+Right Arrow Toggle between Multitrack View and Edit View Toggle display of Organizer window Toggle display of the Cue List Toggle display of the Sel/View controls Toggle display of the Session Properties window Toggle display of the Mixer window Toggle display of the EQ window Toggle display of the Track Properties window Set focus to the main display Set focus to the previous docked window Set focus to the next docked window Activate the previous floating window Activate the next floating window Flash the window that’s currently in focus Zoom in horizontally .ADOBE AUDITION 349 User Guide Ctrl+Down Arrow Shift+I Shift+O Shift+H Shift+J Shift+K Shift+L Shift+[ Shift+] [ ] Select the next block in the currently selected track Adjust Zero Cross in Adjust Zero Cross out Adjust Zero Cross left side to the left Adjust Zero Cross left side to the right Adjust Zero Cross right side to the left Adjust Zero Cross right side to the right Find the next beat to the left Find the next beat to the right Anchor the selection to the left when playing Anchor the selection to the right when playing View Menu Shortcuts F12 Alt+9 Alt+8 Alt+6 Alt+3 Alt+2 Alt+5 Alt+4 Alt+1 Alt+. Alt+.

350 Keyboard Shortcuts Alt+Left Arrow Alt+Home Alt+End Alt+Up Arrow Alt+Down Arrow Ctrl+P Zoom out horizontally Zoom in to the left edge of the selection Zoom in to the right edge of the selection Zoom in vertically Zoom out vertically Display Wave Properties in Edit View only. display Advanced Session Properties in Multitrack View Analyze Menu Shortcuts Alt+Z Toggle the display of the Frequency Analysis window Options Menu Shortcuts F10 F4 F6 F7 P Alt+K Toggle the monitoring of the input signal in the Level Meters Display the Adobe Audition Settings dialog MIDI Trigger Enable SMPTE Slave Enable MIDI Panic (reset all MIDI devices) Open the Shortcuts (Keyboard & MIDI Triggers) dialog Transport Shortcuts Alt+P Alt+S Space Ctrl+Space Shift+Space Ctrl+Shift+Space Ctrl+Alt+Home Play normally Stop playback or recording Toggle between Play and Stop Toggle between Record and Pause Toggle between Play to End and Pause Toggle between Play All and Pause Move Play cursor to previous cue or beginning of waveform or session Move Play cursor to next cue or end of waveform or session Ctrl+Alt+End .

such as a soundcard’s built-in MIDI interface. One of Adobe Audition’s best features is that most functions can have a keyboard shortcut assigned to them. you can trigger audio from your MIDI sequence by embedding a controller event at a specific location. a MIDI interface card. . This works well for shorter samples. or another similar hardware device. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. but you may also execute commands from a MIDI keyboard. When using Adobe Audition with a MIDI sequencer. but for longer audio segments you should use SMPTE to ensure synchronization. Note: Before attempting to enable MIDI triggering. Not only can you assign commands to your PC’s keyboard. as well as create new ones. and assigning playback in Adobe Audition to that event. a sequencer. you’ll need to choose a device for MIDI In that is recognized by Windows. This type of shortcut is referred to as a MIDI Trigger.ADOBE AUDITION 351 User Guide Help Menu Shortcuts F1 Display the Help file’s Quick Reference section Keyboard Shortcuts Dialog The Keyboard Shortcuts dialog (Options > Keyboard Shortcuts) is where you can customize Adobe Audition’s existing keyboard shortcuts. which can make editing much faster. or any other device capable of issuing a MIDI command.

) Conflicting Keys If a command’s keyboard shortcut is already in use. (The most notable exceptions are the Print Scrn. and Enter keys. Shift. press the desired MIDI note or adjust the new controller/value. Release the button to hide all Multitrack View shortcuts.352 Keyboard Shortcuts Keyboard Shortcuts List All of Adobe Audition’s commands and functions that can be assigned a keyboard shortcut are displayed in this list. MIDI Trigger Use this section if you want to be able to execute the currently highlighted command as a MIDI event. and Alt keys (or any combination of the three) to act as the first part of a multiple key shortcut. With your text cursor in the Press new shortcut key field. Caps Lock. You also may select the MIDI channel to receive the trigger from the drop-down Channel list to the right. you’ll be notified here. That’s why you’ll find the Category drop-down menu handy.) However. Num Lock. press the desired key(s) to use for the currently highlighted command’s shortcut key. Scroll Lock. Edit View If the Edit View button is depressed. With your text cursor in the Press new MIDI note or adjust new controller/value field. Release the button to hide all Edit View shortcuts. . Multitrack If the Multitrack button is depressed. It allows you to filter the Keyboard Shortcut list by category. Tab. Use the Clear button to remove an entry from the field. Restore Defaults Press this button to restore all keyboard shortcuts to Adobe Audition’s default assignments. Shortcut Key Use this section if you want to be able to execute the currently highlighted command from your computer’s keyboard. all of Adobe Audition’s keyboard shortcuts for the Edit View are displayed. (The default channel is 1. you’ll see all of Adobe Audition’s keyboard shortcuts for the Multitrack View. Category Nearly every aspect of Adobe Audition can have a keyboard shortcut assigned to it – we’re talking a lot of shortcuts. Use the Clear button to remove an entry from the field. Many Adobe Audition users find single key shortcuts (such as “N” for Normalize) faster to use and easier to remember. which helps you quickly find the command or function to which you want to assign a shortcut. and then give it a shortcut (or edit its existing one) using the Shortcut Key and/or MIDI Trigger area of the Keyboard Shortcuts dialog. you can use the Ctrl. Click on a command to highlight it. along with any currently assigned shortcuts and MIDI triggers. Adobe Audition gladly accepts most single key shortcuts.

and a wide range of sample rates. There are many varieties of ADPCM. Thus. such as the IMA (Interactive Multimedia Association) DVI standard. Amplitude Amplitude represents the loudness of a signal. or jack that enables you to connect two audio or video devices together. A certain sampling rate can represent a frequency equal to half its rate (the Nyquist Frequency). Analog Recording This is the recording of the ongoing changes of an audio waveform. etc. Like Windows WAV. The analog recording of audio is a continuous curve. ACM The Microsoft ACM (Audio Compression Manager) is part of all 32-bit versions of Windows. with decibels (dB) being the most common. The ACM enables many Windows audio programs to compress and decompress files in a variety of formats. Encoding and decoding are rather fast and generally widely supported. AIFF files support mono or stereo. There are different standards for measuring amplitude. plug. Adobe Audition only supports the PCM encoded portion of the data. ADAT A digital 8-track tape deck manufactured by Alesis Corporation that has been very popular in recording studios. Amiga IFF-8SVX See IFF or SVX. 8-bit Signed See SAM. as opposed to digital recording. Extensions are . yielding a 4:1 compression ratio. Aliasing Noise that occurs from sampling a high frequency sound at a sample rate that is less than what is required to represent that frequency. such as DSP Group TrueSpeech and GSM 6. which is based on discrete samples.snd. This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13 bits.353 Appendix B: Glossary 64-bit Doubles See DBL. and versions from Microsoft. while others are provided by third parties. AIF See AIFF. ADPCM ADPCM (Adaptive Differential Pulse Code Modulation) is an audio compression scheme which compresses sound files from 16 bits to 4 bits. Dialogic. and is found in European systems. Adapter A passive cable. A waveform’s amplitude is measured by its distance from the center line (which represents a 0 amplitude value). It is a slight variation of the u-Law compression format. A-law encoded waveforms have a higher s/n ratio than 8-bit PCM. 16-bit or 8-bit. ACM formats are sometimes acquired when you install other software. AIFF This is Apple’s standard wave file format. . Some of these formats come as a standard part of Windows. even though this format (like Windows WAV) can contain any one of a number of data formats. The AIFF format is a good choice for PC/Macintosh cross-platform compatibility.aif or . A-Law A-Law (or CCITT standard G. ActiveMovie See DirectX.10. The quality is higher than you would get with 4-bit ADPCM formats.711) is an audio compression scheme common in telephony applications. but at the price of a bit more distortion than the original 16-bit audio.

G.354 ASCII Text Data Audio data can be read to or written from files in a standard text format. AU This format is the standard found on NeXT and Sun computers. The most common use for the AU file format is for compressing 16-bit data to 8-bit mu-law data. Automation is handled by Envelopes in Adobe Audition. etc. The values for NORMALIZED are either TRUE or FALSE. . Beat Cues are just like Basic Cues. Adobe Audition supports the CCITT mu-Law. and has many data types. or new material recorded into a track. Band Pass Filter A filter or DSP effect that allows some audio frequencies to pass. Some file formats may not be compatible with other systems. Background Mixing This is the process that Adobe Audition uses to combine waveforms for monitoring while in the multitrack environment. and linear PCM data variants. this is done with “automatic” volume and pan sliders that can be programmed to remember timing information and move themselves appropriately during playback. Attack The first part of the sound that you hear. compression.wav) is found most often in the Windows environment. An optional header can be placed before the data. this format can support mono or stereo. then the data is assumed to be 16-bit signed decimal integers. background mixing occurs behind the scenes.snd extension. They’re also used to specify stop and start positions for the Adobe Audition’s Play List. An update of the background mixing process can be seen in the Mix Gauge. The header is formatted as KEYWORD: value with the keywords being: SAMPLES. Audio File Format The method used for writing audio data to disk for storage is known as a File Format. SAMPLERATE. Some sounds (like pianos and drums) have a very fast attack. and a wide range of sample rates when saved as linear PCM. Beat Cue One of the four types of Adobe Audition Cues. AU is used quite extensively for distribution on the Internet. and NORMALIZED. The file extension is . If there is no header text. and works much of the time to reflect changes to your session. 16-bit or 8-bit. a volume change. A-Law. BITSPERSAMPLE. which themselves support a variety of properties such as sample rate. CHANNELS. Like Windows WAV and AIFF files. A sound with a slow attack rate (such as a soft string section) slowly increases in volume. Attenuate To make smaller. and for inclusion in Java applications and applets. Basic Cues are used to mark important sections of the waveform for later reference (such as to remind yourself of an editing point). Automation The process of making pan and volume changes in a mix that will happen every time the file plays back. Beats Per Minute (BPM) The number of steady even pulses that occur in a piece of music every 60 seconds.txt.au or . Basic Cue One of the four types of Adobe Audition Cues. with each sample separated by a carriage return.721 ADPCM. such as a moved or deleted waveform. and channels separated by a tab character. As its name implies. In many hardware mixers. File formats can be chosen in File > Save As… Audition Loop See CEL. Adobe Audition supports many file formats. The BPM value defines the tempo of the musical selection. the loudest portion of the sound is reached very quickly. such as to reduce volume or signal level. but they’re specifically for marking musical beats. AU files can have either an . Windows PCM (. but not others.

It’s best to remain at the 32-bit level while working in Adobe Audition.and waterfall-like sounds. Choosing 8-bit resolution will provide 256 possible unique “volumes”. A bit makes up a larger number. a bus lets you make a common connection between several tracks. or a video block. in order to best represent the audio after transforms have been performed. Brown noise is so called because.e. the wave follows a Brownian motion curve. while choosing 16-bit resolution will provide 65. Bit Bits are part of the numbering system used in digital equipment. this waveform looks like a mountain range. such as the delay length. CD-RW A rewritable CD-R disc. It typically holds at least 650 MB of data or 74 minutes of audio.. plus a small random amount. When graphed. but unlike a CD-R. Bus Effects Rack The Bus Effects Rack dialog is the initial dialog used for deciding which real-time effect(s) you wish to add to or remove from a bus. and there are many more low-frequency components to the noise. That is. This results in thunder.a. a CD-RW disk can be erased and written to again. when viewed. Block A segment of audio in Adobe Audition’s Multitrack View that can be dragged separately. Compact disc players have 16-bit resolution. This means. Therefore. stored in a ROM chip). and convert down for output. which is used to represent the voltage level (amplitude) of an analog signal. recordable compact disc that can be written to once. BIOS routines are usually stored on hardware on the motherboard of a computer system (i. or burn. which results in a 96 dB signal-to-noise ratio. which only has a 48 dB dynamic range. A block can be one of several data types: a wave block. Brown Noise Brown noise has a spectral frequency of 1/f^2. Bus Effects Configuration This dialog shows tabs for each effect on a given bus. Obviously. the next sample in the waveform is equal to the previous sample. In the case of Adobe Audition’s Multitrack View. Burn Burning is the act of writing to a CD-R or CD-RW disc. a MIDI block.ADOBE AUDITION 355 User Guide BIOS Basic Input Output System. Bus An electrical conductor that makes a common connection between several circuits. Some sound cards support resolutions greater than 16-bit. such as computers.536 possible unique volumes. CD-R discs. which in turn determines the number of voltage levels possible in representing amplitude. in English. Bit Resolution (a. CD-R A CD-R is a blank. A CD-RW also typically holds at least 650 MB of data or 74 minutes of audio. Adobe Audition supports up to 32-bit sample rates. and launching the operating system.k. Bit Depth) The number of bits used in measuring amplitude for a sample. It’s where you actually set the properties for that effect. It’s the BIOS that handles the instructions for starting a computer. . initializing the hardware. that there’s much more low-end. CD-R can also refer to the computer drives that write. called a word. greater bit resolutions make for higher dynamic range. a much greater dynamic range can be reproduced at 16-bit resolution than at 8-bit resolution. It’s the most basic system for controlling a PC. The number of bits used to make up a word determines the bit resolution.

AVI.cel file. just as it’s saved with a .356 CEL Audition Loop files are essentially MP3 files with a . . thus providing an even.cel file also works to avoid a problem with MP3 files. DAT tapes are sampled at 16 and 24 bits.cel header. it reads this silence information and automatically removes the silence from the file so that it’ll loop smoothly. In the real world. and the combined A-D-DA modules on some soundcards. compressors can be used to eliminate the variations in the peaks of an electric bass signal by clamping them to a constant level. or a range that specifies a selection. solid bass line. Compressor Compressors reduce the dynamic range of an audio signal. It’s an abbreviation used often when speaking of multimedia compression modules. but with a header that contains two important items. QuickTime. Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the . 256 in 8-bit audio). As it saves a . and appears in the display as a “chopping-off ” of the top of the waveform.000. They are often used at the beginning of a session as timing information for musicians. (The latter is considered DAT quality). Then. DAC Digital to Analog Converter. Crosstalk Undesired leakage of audio from one track to another. a process known as clipping occurs. Creative Sound Blaster See VOC. CODEC Stands for Coder/Decoder. Click Track An audio track comprised of clicks that occur on the beat. and 32. For example. and then removed from the session before production is complete.cel extension. such as ACM modules (often called ACM CODECS). which was common on analog tape. MPEG compressors.wav file and is set under View > Wave Properties > Loop Info. or for assembling in Adobe Audition’s Play List. it’s enough to throw the entire loop off. and less than unity for signals with levels above the threshold. You may define and save an unlimited number of cues in Adobe Audition’s Cue List for later recall. The . The first is the loop info. though. when Adobe Audition loads a . Crossfade Fade from one audio track to another. Chorus A delay effect that simulates several voices.000 samples per second. If you experience clipping. like a metronome.100. This is impossible in Adobe Audition since each track is stored as a separate digital audio file. try lowering recording input or source output levels. or locations defined within an audio file. and 48. The hardware responsible for converting a digital audio or video signal into an analog signal that can be played back. Clipping When the amplitude of a signal exceeds the maximum level for the available current conditions (for example. When working with a loop. Clipping causes the signal to distort. it’s generally an amplifier with two gain levels: the gain is unity for input signal levels below a certain threshold. DAT (Digital Audio Tape) A standard two-track digital audio tape format. 44. It does this by adding multiple delays with a medium amount of depth and a mild amount of feedback. Compressors can also be useful in compensating for the wide variations in the level of a signal produced by a vocalist who moves frequently or has an erratic dynamic range.cel file. Cue List A list of time offsets. It’s in the nature of MP3 files that a very small amount of silence is added to the beginning and/or end of an MP3 file when it’s encoded. A cue can be either a point that specifies a cursor position.

a decibel (dB) is a logarithmic unit of measurement used for amplitude (specifically. Device Devices are used to send data into and out of Adobe Audition. Hardware that uses DMAs can pass data much more quickly.g. non-delayed signal to give it a fuller sound or to create echo effects.dbl) is 8-byte doubles in binary form–8 bytes per sample mono. Examples include filtering or creating a sound-simulation effect. For example. etc. causing the center of the waveform to be off from the zero point in the waveform display. such as a reverb or echo. The value in dBFS does not relate directly to the original absolute sound pressure level of the audio measured in dB.. This is seen as the waveform being “shifted” above or below the center line in the Wave Display. Adobe Audition offers a variety of Delay Effects such as Reverb. or can refer to. In digital audio. to compare sound pressure with a reference pressure). A type of RAM. DMA Direct Memory Access. DMA addresses can not be shared between multiple devices. paste. Dither Dithering is the process of adding small amounts of noise to a digital signal so that fainter audio (below the noise you add) can be heard that would otherwise be truncated away when converting from a higher bit rate to a lower one (e. a change in audio volume would actually alter the amplitude of a wave file. In Adobe Audition even “destructive” edits are not applied directly to the wave file in use until you save the file. unlike nondestructive editing. so does 64-bit doubles format. Destructive Editing Destructive editing means simply that edits (cut. DIMM Dual Inline Memory Module. and are used for the recording and playback of audio material. Digital Signal Processing (DSP) The process of transforming a digital audio signal from one form to another via complex algorithms. Devices are selected in Options > Device Properties. you can choose the DC Bias Adjust setting in Effects > Amplitude > Amplify. . A method of transferring data directly from memory to a device without passing through the CPU. DirectX DirectX (formerly ActiveMovie) is a development platform designed by Microsoft for 32-bit versions of Windows which provides an open standard for audio plug-ins. Wave devices generally take the shape of sound card Inputs and Outputs. or 16 bytes per sample stereo interleaved. Just as raw PCM has no header and is just audio data. DSP modules and other audio tools based on this standard can be used by any application that supports the ActiveMovie/DirectX architecture (such as Adobe Audition). Many areas of Adobe Audition refer to. amplitude in decibels. and can cause a click or pop to be played at the beginning and the end of the file. Dialogic ADPCM See VOX. This includes both Wave and MIDI devices. DBL The 64-bit doubles wave format (.ADOBE AUDITION 357 User Guide DC Offset Many sound cards record with a slight DC offset. Decibel (dB) In audio. 0dBFS is the maximum possible amplitude value (as in 256 for 8-bit audio). and Echo. which means that direct current is introduced into the signal by the card. Chorus. DiamondWare Digitized See DWD. Delay A time-shifted signal which can be mixed with the original. To compensate for DC Offset. converting 24-bit to 16-bit). while MIDI devices are used to send performance and sync information to Adobe Audition and other MIDIenabled programs or hardware.) and changes are applied to the wave file itself. in destructive editing. so that the original audio data itself changes. effects.

This allows the file to be renamed. volume. Frequency Measured in Hertz (Hz). An expander can also be considered an amplifier with two gain levels: the gain is unity for input signal levels above a certain threshold. Envelopes Adobe Audition uses several types of envelopes (Pan. and less than unity for signals with levels below the threshold. due to the sound reflecting off a surface. Fast Fourier Transform An algorithm based on Fourier Theory that Adobe Audition uses to perform its filtering functions. DVI See IMA ADPCM. waveforms can be quickly analyzed for their frequency and amplitude content. as well as Spectral View and Frequency Analysis functions. A cycle consists of movement from a starting point (0) through both positive and negative amplitudes. It supports both mono and stereo files at a variety of resolutions and sample rates. DWD This is the audio format used by DiamondWare’s Sound Toolkit. and when it is at the bottom. Flushing The process Adobe Audition performs when it copies the audio data from a waveform file to Adobe Audition’s temp folder so that the original file can be closed. Adobe Audition offers two Echo Effects (Echo and Echo Chamber). DSP See Digital Signal Processing. Fourier Theory Fourier Theory states that any waveform can be made up of an infinite sum of sin and cos functions. deleted. or its cycles per second.358 Dry Used to describe an audio signal without any signal processing (such as reverb). For instance. Echo A distinct repetition of a sound. eventually returning to the starting point. An expander boosts the highlevel signals and attenuates low-level signals. Audio stored on DVD movies is generally 96 kHz/24-bit. DVD Digital Video (or Versatile) Disc. but with much higher bandwidth and storage capabilities. a sound’s Frequency is the rate at which it vibrates. A storage medium similar to Compact Disc (CD). Equalization (EQ) Equalization is the process of increasing or decreasing the amplitude of audio signals at a specific frequency band relative to the signals at other audio frequencies. a programmer’s library that lets you quickly and easily add high-quality interactive audio to games and multimedia applications. the audio is at full volume. Volume. Hertz (Hz) This is a unit of measurement used to measure the frequency of a sound. and FX Parameter) for mix automation. it’s at zero volume. each with several settings. Hertz are equal to cycles per second. Flange An interesting audio effect caused by mixing an approximately even amount of a varying short delay with the original signal. Wet/Dry. The envelopes can be drawn directly on the blocks in the Multitrack view. (They are basically the opposite of a compressor). FX An abbreviation for the word effects. Adobe Audition’s Flanger effect can be found in Effects > Delay Effects. or opened exclusively by another application. A sound’s frequency determines its pitch. . Flushing sometimes occurs when a modified waveform is saved on top of its original file. wet/dry. By using Fourier Theory. when the volume envelope is at the top of the wave block. Expander Expanders are used to expand the dynamic range of an audio signal. the opposite of Wet. and/or FX parameter settings at any point along the track. and represent the pan.

with each being half as loud as the previous tick. and remain lit. Interpolate To estimate the values of data points between known data points. A variety of sample rates are supported. Indexes are markers within a CD track.iff or . the right. When displaying stereo audio or in a multitrack session. and has different distortion characteristics. IFF The Amiga 8SVX format (which can have an extension of . Interpolation is used in functions where new data must be generated from known data to fill in areas where values are unknown. The clip indicator to the right of the meters will light up. it provides reasonably fast decoding of 4:1 compression. if the impulse is a single sample of a full volume “tick”. the disk space required for the drum hits amounts to the same as for one instance. If these 30 instances are entered in the session as Images. Should the tick be at half volume. and each echo at half the volume of the previous one.svx) is an 8-bit mono format from the Commodore Amiga computer. such as the final error correction stage in the playing of CD audio. Clicking on the clipping indicator at any time will reset it. a copy of a block will create a separate sound file on disk. Image An Image is a block in the multitrack environment that does not singly represent a sound file. . The files produced using this format have an extension of . then the original audio data will be reproduced at half volume. and the bottom. descending in amplitude over time.) Also. As an alternative. this consumes disk space. and it degrades sample quality only slightly. any alteration to one Image (like a cut. Level (or VU) Meters Adobe Audition’s Level Meters are found by default along the bottom of the main window. Keep in mind that because Images represent the same file. the time between the track marker that begins a track and the first index in that track will show up on the player as “negative time”. the top meter represents the left channel. Impulse An impulse is the data by which every other sample in your waveform will be multiplied when using the Convolution effect (Effects > Special > Convolution). and are used to monitor the volumes of incoming and outgoing signals. then the result of convolution with some audio will be that sound echoed with 100ms between each echo. it’s best to save to this format from 16-bit rather than 8-bit. Impulses are like “amplitude maps”. A type of hard drive and CD-ROM interface that’s the most common interface (as opposed to SCSI) in PCs. As with Microsoft ADPCM.wav. but will allow for separate editing.ADOBE AUDITION 359 User Guide IDE Integrated Drive Electronics. which can give better or worse results depending on the sample being compressed. direct Adobe Audition to the same sound file on disk. or transform) will affect all instances of the Image in the session. Index Cue One of the four types of Adobe Audition Cues. For example. when encountered in a session. you may have a drum hit which occurs 30 times within a session. (Some CD players offer controls for cueing indexes. If there are several ticks (such as one tick every 100 milliseconds). This compression scheme can be a good alternative to MPEG. IMA ADCPM The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4 bits/sample (4:1) using a different (faster) method than Microsoft ADPCM. when levels exceed the maximum of 0dB. For example. Images are simply pointers which. but rather acts as a shortcut. then the convolution of that impulse with any audio data would just be that audio data itself.

When doing a Mixdown. which are mixes of selected tracks (such as all of the drums). either indefinitely or for a certain number of repetitions. which is done when you’re happy with the way your session sounds. which is an audio signal. . a Loop is simply the repeating of a certain range. track properties such as Volume and Pan are reflected in the resulting waveform. Windows provides a way of transmitting MIDI information internally between programs. The file extension is . Files saved in this format will automatically be expanded to 16 bits when loaded. plus you can transmit MIDI information into and out of your computer to and from external devices (such as a MIDI Keyboard) through the MIDI Port of a sound card. Loop With regard to waveform material. it’s best to save to this format from a 16-bit waveform rather than 8-bit. a sequencer. A Mixdown can also be used to create submixes.wav. Mixdown Mixdown is the process of combining the output of all enabled tracks (or selected tracks) in Multitrack View into a new stereo waveform. If you insert a file that has loop information in its header. MIDI MIDI stands for Musical Instrument Digital Interface. For instance. (There are 1. There are many looping functions in Adobe Audition. This performance information can take the simple shape of a note instruction. Beyond this level. or other MIDI Interface device. as the input continues to increase in gain. Mixing Mixing is the process of combining multiple audio sources (or tracks) together for output as a single source.000 milliseconds in a second. can be converted to MTC to sync to and control Adobe Audition’s transport from a device such as a VTR or tape deck.360 Limiter Limiters reduce or “limit” input signals that exceed a specified threshold level so that the output does not increase in gain beyond that point. Miniplug jacks are the most common interface for a sound card’s analog inputs and outputs. or it can transmit detailed information on things such as timing or sound patch data. For this reason. These types of mixes are often referred to as submixes.) Miniplug A common name for 1/8-inch plugs and jacks. a limiter only allows the dynamic range at its input to increase up to a certain point. Microsoft ADPCM The Microsoft ADPCM format consists of 4-bits-per-channel compressed data. regardless of their original resolution. or any other device capable of issuing a MIDI command. In other words. which provides 4:1 compression. though mixes may be directed to more than two channels for output (as in drums to one set of outputs. just grab the bottom right corner of the block and drag to loop it over time. Output is generally in the form of a stereo pair of channels (a right and a left). MIDI Time Code (MTC) MIDI Time Code (MTC) is a method of sending timing information between MIDI-capable devices. SMPTE. the output level remains relatively constant and does not increase in volume. such as Loop Duplicate or loop “painting” in the multitrack environment for looping waveform blocks. sometimes known as minijacks. MIDI Trigger A MIDI Trigger is simply a shortcut which can be called via a MIDI event (such as a Note On or Pitch Wheel). MIDI events can be sent from a MIDI keyboard. Millisecond (ms) One thousandth of a second. Mixdown is generally the final operation. Submixes are useful for cleaning up your workspace. as the quality will be much greater. which is determined by the threshold setting. and everything else to another pair of outputs). and is a way of communicating performance information from one piece of software or hardware to another.

This encoding format compresses original 16-bit audio down to 8 bits (for a 2:1 compression ratio) with a dynamic range of about 13 bits. but Adobe Audition allows you to normalize a waveform to any percentage. MP3 MPEG Layer 3. Mono Mono (derived from “Monophonic”) means that there’s only a single sound source. For example. In most cases. Normalize Normalization adjusts the highest peak of the waveform to a certain percentage. frequencies above the Nyquist Frequency would produce aliasing distortion. mu-Law is very similar to A-Law. You don’t need to wait for the Mix Gauge to completely fill up before playing the session. this bar will “empty” and fill back up as the mix is re-processed. The quality is higher than you would get with 4-bit ADPCM formats.ADOBE AUDITION 361 User Guide Mix Gauge The Mix Gauge is found beneath the Track Console in the Multitrack View. It’s best to record at higher sample rates and convert down if needed.100 Hz audio is 22. but would be an instruction to “get louder at this point”. Noise Gate A Noise Gate is a special type of expander that can be used to reduce or eliminate noise below a threshold level. Each time something changes in a session that alters the way it will play back. which is then acted out upon playback. Noise Shaping This technique is used to shift the frequency of dithering noise to minimize its audibility in the wave file. If not filtered out.711) is an audio compression scheme and international standard in telephony applications.050 Hz. so there’s no need to purchase an MP3 plug-in. Adobe Audition has MP3 support built in. It’s an indicator of the amount of background mixing that Adobe Audition has completed. The bar becomes a bright color when fully mixed. a variation of mu-Law found in European systems. Encoding and decoding is rather fast and generally widely supported. This frequency designates the highest reproducible frequency for that sample rate. the Nyquist Frequency for 44. For example. in order to reproduce a signal with an 11 kHz frequency range. Nondestructive Editing Nondestructive edits and changes are those which don’t alter the sound file on disk in any way. frequencies that exceed the Nyquist Frequency are filtered out before reaching the actual analog-to-digital conversion process using analog bandpass circuitry. It does this by heavily attenuating signals with levels that fall below the threshold. in nondestructive editing. MPEG A set of audio and video compression schemes created by the Motion Picture Experts Group. A subset of the MPEG standard invented by the Fraunhofer institute that has become very popular due to the very high compression ratios (10 to 1 or better) with little audible loss. The Adobe Audition Multitrack View is a nondestructive editing environment. or the signal came from a single sound source. a volume change would not actually alter the amplitude of the waveform. Nyquist Frequency The Nyquist Frequency (also called Nyquist Rate) is one-half of the current sampling rate. It can also be used to silence the pauses in speech. A noise gate is often used to totally cut off the signal level during a musical pause so as not to pass background noise. The further this bar progresses to the right. thereby raising or lowering all other peaks accordingly. this is 100%. Thus. mu-Law encoded waveforms have a higher s/n ratio than 8-bit PCM. Thus. the more complete the mix of your session. but at the price of a bit more distortion than the original 16-bit audio. . In nearly all analog-to-digital converters. mu-Law mu-Law (or CCITT standard G. you would need to select a sample rate of at least 22 kHz.

Two sounds will cancel each other out when one’s high points coincide with the other’s low points. Adobe Audition saves the Play List in the . Portion Bar Vertical and horizontal bars that are used for zooming and scrolling in both Edit and Multitrack Views.wav file format header. The Organizer Window isn’t shown by default. their amplitudes are summed together to form the total sound we hear. you can continually record over the original material and afterward choose between the takes for the best performance. and redraw audio files more quickly than it could do without them. When zoomed in. larger audio files will take longer to reload. and then back to its maximum. It’s the basic uncompressed data format used in file types such as Windows . which seamlessly integrate into Adobe Audition’s interface. However. Their name comes from their ability to allow you to see just a portion of the current waveform or session. Activate it by pressing the F9 key or by selecting View > Show Organizer Window. The phase is the position of the wave on this cycle. Pink noise has a fractal-like nature when viewed. but pink was more appealing). waterfalls. Adobe Audition supports third-party DirectX audio Plug-ins. you can simulate rainfall. Those that offer Preview will have a Preview button in the function’s dialog. These two waves are said to be out of phase. save. which means that changes to the function settings may be monitored while they’re being made. You can safely delete Peak Files. from within the function dialog. as well as a way for removing unwanted ones. Pink Noise Pink noise has a spectral frequency of 1/f and is found mostly in nature.pk that enable Adobe Audition to load. or turn their creation off altogether in the Display tab of Options > Settings. it cycles through from its maximum to minimum amplitude. Play List The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times in nondestructive fashion. Functions that support Presets will have a list where you can click on a Preset name to recall the settings. Punch In is only available in the multitrack environment. wind. Pink noise falls exactly between brown and white noise (which is why some people used to call it tan noise. and favorites.362 Organizer Window The part of the Adobe Audition interface that lets you see a tabbed list of open files. PCM Pulse Code Modulation. It’s the most natural sounding of the noises. Peak Files Peak Files are files with the extension . For example. effects.wav and Apple AIFF. Preset Most functions in Adobe Audition supports Presets. Punch In Punch In is a recording method used to record “into” a certain region of an existing waveform. When you hear two sounds simultaneously. Phase As a wave vibrates. as well as an area for creating and naming new Presets. Adobe Audition allows for multiple “takes” when Punching In. or return to the original data. Punching is usually used to replace an undesirable section within a longer audio segment. the pattern looks identical to the way it appears when zoomed out. and other natural sounds. except at a lower amplitude. A Preset is a group of function settings saved under a particular name for later recall. a rushing river. Preview Many functions in Adobe Audition support real-time Preview. PCM is the standard method of digitally encoding audio. The Preview quality is dependent upon your system’s performance. By equalizing pink noise. . Plug-in A Plug-in is a software component that can be added to another piece of software to increase its functionality. keep in mind that without Peak Files.

sam extension is assumed to be 8-bit signed raw data with no header. RCA Cable This type of cable (sometimes called a phono cable) features RCA plugs or jacks at either end.ADOBE AUDITION 363 User Guide Quantization Quantization takes place as a part of the analog to digital conversion process as the values of an analog wave are turned into steps. RAM Random Access Memory. and Full Reverb). Real-Time generally refers to an operation or function’s ability to act. on demand.) Many discrete echoes arrive at the ear so closely spaced in time that the ear can’t separate them. but the actual sample rate can be changed once the file is loaded using Edit > Convert Sample Type. and bars and beats in both Edit and Multitrack Views. In Multitrack View. or react. 8-bit signed raw format data with the . as there is always some amount of processing done). Rip Ripping is the process of digitally extracting the audio from a compact disc and turning it into a waveform that’s usually an identical copy of the original CD track(s). Resample To recalculate a sound file’s samples using a different rate than which the file was originally recorded. This noise is heard more often in sounds recorded at low bit resolutions. This is what you refer to when you say that your computer has 128 megabytes of memory. like receivers. Memory that cannot be written to after it is constructed. and a Real-Time preview of effects before they are applied in the Edit View. or percentage. since audio in MOD files is 8-bit signed. . and includes scrolling and zooming functionality. ROM Read Only Memory. there is no “wait time” for processing to occur. samples.sam) is popular for building MOD files. (Reverb is a shortened version of the word Reverberation. and CD-RW drives support digital audio extraction. In the Edit View. normalized values. Adobe Audition provides Real-Time effects functionality with most of its effects in the Multitrack View. Adobe Audition offers three Reverb Effects (Quick Verb. time code. Real-Time In computer-based audio. The Horizontal Ruler can measure time. The sample rate is assumed to be 22050Hz. especially at lower amplitude. information in ROM stays when the computer is turned off. S/N Ratio Signal-to-Noise Ratio (S/N Ratio) is the difference in level between the average signal level and the average level of the noise floor. SAM The 8-bit signed wave file format (. decibels. and cassette decks. use the Vertical Ruler to scroll through tracks. Most computers have a small amount of ROM that holds software required to boot the computer. Quantization Noise naturally occurs during this time. That is. Ruler The numbered controls to the right and below the Wave and Session displays. CD frames. as well as to control the number of tracks displayed on-screen at once. Reverb. each with many settings. Most newer CD-ROM. CD players. but rather things are seemingly done in an instantaneous fashion (though this is never really the case when dealing with digital audio. Unlike RAM. RCA cables are normally used to connect stereo system components. or exported to files in this format. Reverb The persistence of a sound after its source has stopped emitting it. the Vertical Ruler measures sample values. The memory required to load and run programs. Many MOD editors allow samples to be inserted from files. CD-R. caused by sample levels being changed to conform to standard Quantization levels.

Session files don’t actually store the audio data in them. instead of using your mouse to go to the Edit menu and selecting Cut to remove the highlighted portion of a waveform. (See Nyquist Frequency. you can simply press Ctrl+X. SMP Audio files with an . pitches.) Sampler A device that records and plays digital sounds (samples) many times with features to edit and store the samples. To digitize a sound. such as what tracks contain what audio files. Sample Rate The sample rate determines the number of times per second to take a snapshot of the audio. For example. a sample rate of at least 20Khz must be chosen. or any other device capable of issuing a MIDI command. but at the expense of requiring more disk space. A Session is stored as a file on your hard disk with the extension .smp extension are used by Turtle Beach’s SampleVision program. you can execute commands from a MIDI keyboard. SCSI Small Computer Systems Interface. This type of Shortcut is referred to as a MIDI Trigger. Session A Session in Adobe Audition is a multitrack project. Shortcut Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer keyboard.364 Sample In digital audio. In Adobe Audition. among other things. and for very fast data transmission.ses. An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard. you’ll be asked to convert it before saving. The Start Offset determines when playback and recording will trigger while Adobe Audition is syncing to SMPTE time code. SMPTE Start Offset The offset to the start of a multitrack session. So. SCSI is a standard for attaching components (such as hard drives and CD-ROMs) to a computer. if you will. volume levels. seconds. “session” can refer to the project itself (as in “your session”) or to the act of working on the project (as in “during your session”). a sequencer. and frames. Pronounced “skuzzy”. Sequencer A programmable electronic device which can play a stepped order (sequence) of musical events. minutes. such as samples. and envelope information. If your data is in a different format. SND Waves with this file extension are usually Apple AIFF or Next/Sun files. instead they point Adobe Audition to where it can find and load the sound files used in the project. Frequencies of up to one-half the sample rate can be produced effectively. . SMPTE Time Code SMPTE (Society of Motion Picture and Television Engineers) time code is a timing reference used to synchronize two devices to the same clock. It allows for multiple devices to be daisy-chained to the same controller. are taken every second (this number is a product of the sampling rate used) and are changed into numeric representations. See AIFF or AU. Actually. and rests. SMP format also supports loop points. as in traditional recording. and contains the details of the project. a number of snapshots. or samples. Session Display The workspace where audio data shows up and can be manipulated in Adobe Audition’s Multitrack View. A sample is a single snapshot of the sound. to reproduce a frequency of 10Khz. Higher sample rates produce higher-resolution audio. which can be edited using Adobe Audition’s Cue List. SMPTE time is broken down into hours. The format supports only mono 16-bit audio. The term sample can also refer to the digitally recorded sound itself. though this nomenclature tends to be used more when referring to digitized sounds used by hardware samplers than in computer-based audio editing. a signal isn’t captured in a complete continuous fashion.

effects. TXT See ASCII Text Data. such as the delay length. Track Cue One of the four types of Adobe Audition Cues. Track Effects This term refers to Adobe Audition’s non-bus real-time effects. turn it up to a different level. The older . EQ. normally measured in BPM (Beats Per Minute). VOC files can contain information for looping and silence. Tempo Tempo is the rate at which music moves.voc files. and stereo up to 22 kHz. If the file you’re loading contains loops and silence blocks. The most common forms are SMPTE and MIDI time code. SVX The Amiga 8SVX format (which can have an extension of . Tracks are found in the Session Display of the Multitrack View. adding real-time effects. The newer type of . EQ. track name. There you’ll find controls for viewing and altering track properties such as pan. Track Effects Rack The Track Effects Rack dialog is the initial dialog used for deciding which real-time effect(s) you wish to add to or remove from a track. assigning multiple tracks to a bus. and can be configured with its own volume. VOC This is the Sound Blaster and Sound Blaster Pro voice file format. Track Tracks in Adobe Audition are where audio is positioned and arranged in a session. Vocoder An Adobe Audition Multitrack Effect that will modulate one signal with another. they’ll be expanded while loading. where the position of discrete left and right sounds can be determined. Unity Gain When a device is set to Unity Gain. A track can contain one or more blocks. and each session can have up to 128 tracks. it means its output will be at its specified line level.voc format only supports 8-bit files. pan.1 kHz.voc file supports both 8-bit and 16-bit audio.ADOBE AUDITION 365 User Guide Sound Card A device in your PC that allows your computer to play and record audio. They indicate a split in tracks for an audio compact disc.svx) is an 8-bit mono format from the Commodore Amiga computer. Stripe To copy SMPTE time code to a single track of a multitrack tape. and adjusting the input/output routing (sound card assignment) of each track. and pass that as its unity gain. and input/output assignments. and level. a device could take a voltage of one level. Mono files can have a sample rate of up to 44. They are accessed through the Track Effects Rack dialog. Stereo The reproduction or recording of two of more channels. Track Controls The Track Controls appear to the left of Adobe Audition’s Multitrack View’s Session Window. Adobe Audition supports both old and new style . It’s where you actually set the properties for that effect. A variety of sample rates are supported. The SMPTE is then used to reference time on the other tracks for purposes of syncing those tracks to other devices. Because there are different line levels (-10 dBV and +4 dBu being the most common). Track Effects Configuration This dialog shows tabs for each effect on a given track.iff or . Time Code An audio or digital signal designed to synchronize time between multiple devices. .

au. an Image (a pointer to another waveform block). so any file format with the extension . WAV Files with the . This format has no header.366 VOX The Dialogic ADPCM format is commonly found in telephony applications. It will only save mono 16-bit audio. However.vox will be assumed to be in this format. . In other words. Windows WAV The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions and sample rates. or . the term usage is referencing sound waves. white noise sounds very hissy. it’s much less likely that the edit will create a pop or click after the edit since there won’t be a sudden jump in amplitude after the edit. and allows for extra user information to be embedded and saved with the wave file. equal proportions of all frequencies are present. Waveform The term Waveform is used to describe the visual representation of a signal (amplitude over time) displayed in Adobe Audition. A Waveform Block may be an actual represen- tation of a waveform.wav files such as A-Law. Wet Used to describe an audio signal that has had signal processing (such as reverb) applied. but a Wave File could very well be an . Waveform Block Any waveform entry in the Multitrack environment. the opposite of Dry. White Noise White noise has a spectral frequency of 1. a copy of another waveform. Because the human ear is more susceptible to high frequencies.mp3 file. DVI/IMA ADPCM. ACM. and Microsoft ADPCM.aif. as in “listen to the waveform”. Windows users sometimes just think of a Wave File as an audio file with the . and like other ADPCM formats. or double click on it to “jump into” its source in the Edit View. Waveform can also be used to refer to the signal itself. it compresses to 4 bits/sample (for a 4:1 ratio). but it can be displayed as spectral data by choosing the View > Spectral View option. and has been optimized for low sample rate voice. In this case. It follows the RIFF (Resource Information File Format) specification. and is being used in an acoustical sense. Wave Display The Wave Display is the part of Adobe Audition’s Edit View in which you view and manipulate audio data. Adobe Audition also supports compressed variations of . etc. Wave File The term Wave File usually refers to any audio file format which contains soundwave data. uncompressed Pulse Code Modulation formatted data.wav extension. Zero Crossing A place in time where the wave crosses the zero amplitude line. WAV files contain PCM coded audio – which is pure. You can right-click on a Waveform Block for a menu containing editing commands. . By default this audio material is in the shape of a waveform. a spliced section of another Waveform Block. Any edits made to a Waveform Block are nondestructive in nature. mu-Law.wav extension typically are Microsoft Windows uncompressed PCM audio files. Adobe Audition generates white noise by choosing random values for each sample. By placing edit points at zero-crossing points.

enable 283 Blocks about 241 Auto-scroll during playback and recording 215 Average Left & Right 119 Average RMS Power 201 . moving files to and from 9 Agency field 91 AIF 30 AIFF 30 A-Law 34 Align Left 311 Align Right 311 All Waves 305 Allow for partially processed data 224 Allow Multiple Takes 301 Allpass Feedback 136 Amiga IFF-8SVX 30 Amplification 98 Amplify 97 Amplitude 97. 190 Amplitude sliders 133. 296 Advertiser field 91 Affect Level 323 After Effects. 33 Advanced Session Properties 284. 291 Analysis Wave 318 Analyze Loudness tab 70 Append to Session 274 Apple AIFF 30 Arm Track for Record command 251 Artist field 92 ASCII Text Data 31 ASPI/SPTI 50 AU 34 Audio files. inserting 242 Audio from Video File 316 Audio is defined as 65 Audition Effect 204 Audition Loop 31 Auto Play 47 Auto Play button 18 Auto Zero-Cross Edits 227 Auto-convert all data to 32-bit upon opening 222 Auto-convert settings for Paste 223 Auto-Cue 68 Auto-Play button 82 Auto-play on command-line load 215 B Background mixing 8 Background Mixing Priority 225 Band Limiting tab 107 Band Pass 145 Bars and Beats 86 Base Frequency 193 Basic cue 81 Batch button 83 Batch File Convert 53 Batch Process 212 Batch Processing 209 Batch Run 210 Beat cue 81 Beat Splice 93 Beat Splices 260 Beats per Bar 87 Beats per Minute 87 Beats/Bar 299 Beats/bar 284. 311 Adjust for DC 24 Adjust Sample Rate 73 Adjust to zero-DC when recording 231 Adjust Wave Pan 302 Adjust Wave Volume 302 ADPCM 32. 297 Beats/minute 297 Binaural Auto-Panner 100 Bit Rate 293 Block Color 306 Block Color option 264 Block Context Menu 258 Block Edge Dragging.367 Index Numerics 64-bit doubles (RAW) 29 8-bit signed 29 A A/mu-Law Wave 29 Account Executive field 91 Account for DC 202 Accuracy 151 ACM Waveform 30 Active Track 304 Actual Bit Depth 201 Add cue button 82 Adjust Boundaries 267.

75 Convert to Unique Copy 266.711 29 CD Speed 50 CEL 31 Center Channel Level slider 333 Change Cue Type 82 Change Destination Format 54 Channel Mixer 102 Channel order 338 Channels 45. 312 D Damping factors 127 Damping Frequency 128 Data tab 222 Data Under Cursor option 27 DC Bias Adjust 99. 265. edit 82 Cue List. 312 editing 241 moving 241 remove 312 removing 268 select all 312 Boost 137 Boost Input by 111 Boundaries. adjust 311 Break Time 190 Brown noise 191 Buffer Size 50 Bus 293 Bus button 286 Bus faders 290 Bus Mixer tab 289 Bus Properties 287 Busses 286 about 269 assigning tracks to 269 C Calculate Normalization Values 99 Cancel Last Operation 58 Category 352 Category field 91 CCITT 30 CCITT mu-Law 34 CCITT standard G. 76 Check For Hidden Blocks 314 Choose Files tab 70 Chorus characteristics 117 Chorus effect 116 Clear Clip Indicators 24 Click/Pop Eliminator 161 Clip Restoration 166 Clipboards 62 Clipping Statistics 167 Clock Drift Correction Time 228 Close 51 Close All Waves and Session 51 Close File button 17 Close Only Non-Session Waveforms 51.368 INDEX adjusting hue 262 adjusting panning of 261 adjusting volume of 260 destroy 268. 275 Close Session 275 Close Session and Waveforms 275 Colors tab 218 Column bar 82 Comments field 90. 92 Compact Disc 75 fps 86 Config button 289 Conflicting Keys 352 Context Menus. 84. 112 DC Offset 194. show 80. 91 Creative Sound Blaster 32 Crossfade 64. 200 Decay 124. 75. displaying 241 Conversion Properties 277 Convert Sample Rate 277 Convert Sample Type 54. 309 Convolution 175 Copy 62 Copy to New 42. 138 Decibels 88 Decibels Format 112 Decimal (mm ss ddd) 86 Default Selection Range 216 Default Session 279 Defaults 226 Define Custom Frames 88 Delay 120 Delay Effects 116 . 64 Correct for Drift in Recordings 227 Correct for Start Sync in Recordings 227 Creation Date field 90. 293 Cues and Ranges 81 Current Effects Rack 288 Currently Open Waveform List 316 Cursor At 298 Custom 190 Custom frames 86 Custom Time Code Display 215 Customer support 1 Customize Metronome Time Signature 298 Cut 62. 307 Crossfade Time 226 Cue Handle context menu 81 Cue Info.

203 Edit Sample Directly option 43 Edit Script File 211 Edit Tempo 87 Edit View 11 Edit View button 352 Edit View Right-Clicks 215 Edit View. enable 283 Envelope Follower 317 Envelopes 109. 136 Feedback Graph 123 FFT Filter 146 File Info tab 96 File Name 47. 216 Envelope Editing. 190 DVI/IMA ADPCM 33 DWD 32 Dynamic Delay 121 Dynamic EQ 144 Dynamic Peaks option 25 Dynamics Processing 103 E EBU Extensions tab 93 Echo 123 Echo Chamber 125 Edit Cue Info button 82 Edit Favorites 19. 249. 276. 278 File/Cue List 316 File/Cue List command 250 Filename Prefix 83 Filename/Path 303 . 286 Dial String 190 Dialogic ADPCM 32 DiamondWare Digitized 32 Digitization Source field 90 Digitizer field 90 DirectX 143 Disable Undo 213 Display In Edit View button 18 Display tab 220 Display Time Format 86. 220 Don’t ask for further details 47 Doppler Shifter 181 Downsampling quality level 223 Drop-down Menus 16 Dry Out 119 DTMF Signals 189. Track 254 Equal-power Sine 226 Equal-power Sinusoidal 297 Error Correction 51 Execute Relative to Cursor 210 Exit 59. opening 343 End Date field 91 Engineers field 90 Entire Wave 65. 295 Display Title field 90 Distortion 178 Dither 76 Dither amount for saving 32-bit data to 16-bit files 224 Dither Depth 77 Dither Transform Results 223 Dithering Options 226 Dockable Windows 14. edit 203 Feedback 118. 52 File name 274. 269 EQ 293 EQ A and B buttons 246 EQ button 286 EQ-Loud 71 Equalization fields 289 Equalizer.ADOBE AUDITION 369 User Guide Delay. Multitap 135 Delete 82 Delete Clipboard files on exit 218 Delete old takes after merging 226 Delete Selection 65 Delete Silence 65 Delete This Take 302 Demodulate 194 Depth 142 Destination 56 Destroy Blocks (remove & close) 312 Destructive and Non-Destructive Editing 7 Destructive editing 7 Detect 163 Detect Big Pops 164 Device Order 232. 301 Effects 293 Effects Pane 18 Effects Rack. 328 Device Properties 229. about 270 Effects Settings command 252 Encoded and Exported files. 129. Controller tab 232 Extend Selection 216 Extract 87 Extract Audio From CD 48 Extract Audio from Video 48 Extract from Selection 87 F Fast Forward button 23 Favorites Pane 19 Favorites. about 37 Edit Waveform 258. 328 Device(s) 49. 280 Expand/Collapse arrows 290 Export options 339 Ext.

310 Lock Left/Right 63. 288.wav files as 16. 249 Hue 303 I IFF 30 Images. 313 H Hard Limiting 110 Help tab 205 High Frequency Absorption Time 140 High Pass 145.8 float 222 Intro Time field 91 Inverse 192 Invert 97 K Key 93. 92 Filters 144 Final Amplification 99 Final Mix Delay 129 Find Beats 67 Find Levels button 66. new 55 Free Up Space 57. 313 Inserting audio files 242 Interface Options 50 Interpret 32-bit PCM . 91. 279 Frequency Analysis.721 ADPCM 34 General tab 200. 99 . 296 Generate Tones 192 Generic Win32 50 Genre field 90. 248 Horizontal Ruler 40. 310 Lock in Time 267. 42 Insert menu 250 Insert Play List in Multitrack 64 Insert/Delete Time 257. show 85.370 INDEX Files 53 Files Pane 17 Fill * Fields Automatically 90. 304. 294 Limit Continuous Silence to 66 Limit Playback to 229 Linear Energy Plot 221 Linear Fades 99 Linear PCM 34 Live update during recording 215 Load Meter. 159 Highlight after Paste 216 Hiss Reduction 167 Hold buttons 195 Horizontal Portion Bar 39. 214. 68 Find using Analysis button 95 Fine Tune 95 Fixed Length 93 Flanger 128 Flavor 194 Flush Virtual File 57 Force complete flush 218 Format. 304. show 294 Lock button 245. show 195 Frequency Band Splitter 320 Full option 268 Full Paths button 18 Full re-sync when shuttling 228 Full Reverb 130 Function tab 204 FX button 245. 284 Key for Voiced Loops 296 Key Words field 90 Keyboard Modifiers option 28 Keyboard Shortcuts dialog 351 L L/R Cut (log) 226 L/R Cut Log 297 Lag Time 228 Lead Time 228 Left/Right buttons 201 Level Meters 23 Level Meters. about 240 Independent Channels 191 Index cue 81 Initial Amplification 99 Input Button 245 Input Gain 107 Insert Cue(s) 84 Insert in Multitrack 64 Insert Into Multitrack 17. 286 FX Parameter Envelopes. 306 Group Real-Time Effects 19 Group Waveform Normalize 69. 92 Get 32-bit Audio using 231 Getting Help 1 Go to Beginning button 23 Go To Cue List 82 Go to End button 23 Graph Controls 21 Graphic Equalizer 150 Graphic Phase Shifter 151 Group Blocks 263. show 282 FX/No FX buttons 288 G G. 306 Group By Category 19 Group Color 263. 293 Lock for Play Only 267.

290. 293 Mute Track option 251 N navigating 241 NEC (D4) 50 New 45 New Format 55 New Session 273 Next/Sun 34 Noise 190 Noise Reduction 160. 79 Music 179 Mute 304 Mute Block command 267 Mute blocks 310 Mute button 244. 194 Modulate By 193 Modulation Frequency 193 Monitor Record Level(s) 24. 170 Noise Shaping 77 Noise. 287 MIDI Trigger 352 MIDI Trigger Enable 208. white 191 Non-destructive editing 7 Normalization Values. save as 276 tab 224 Multitrack View 11. 289. pink 191 Noise. save as 277 Mixers Window. 159 Lower Hard Drive Reserves 58 M M/S button 286 Make Point 82 Make Range 82 Mark Deletions in Cue List 66 Master Level slider 337 Maximum Recording Time 207 Maximum RMS Power 201 Merge button 83 Merge This Take 302 Merge/Rejoin Split 267.ADOBE AUDITION 371 User Guide Logarithmic Energy Plot 221 Logarithmic Fades 99 Look in 47. 247 Mix Paste 43. 208. 308 Loop Info tab 92 Loop Mode 207. elements of 329 Multitap Delay 135 Multitrack about 8 button 352 Latency 231 Session. 325 Mouse Wheel 215 MP3 34 mp3Pro 34 MRU List 59. 276 Loop 92 Loop Duplicate 265. show 284 Mixing tab 296 MMC Read CD 50 Modulate 64. brown 191 Noise. 112 Normalized Values 88 Notch filter 153 O Offset 87 One Shot 93 Open 46 Open a Multitrack Session 274 Open Append 47 Open As 47 . 325 Loop Paste 64 Loop Properties 258. calculate 99 Normalize 72. 301 Loud 71 Low Pass 143. 310 Merging 226 Metronome 284. 325 Minimum RMS Power 201 Misc tab 96 Mix Down to Empty Track N 305 Mix Down to File 263. 63 Mixdown(s) 226 saving with video file 263 Mixdown(s). 327 tab 298 Microsoft ADPCM 33 MIDI Blocks 263 listing active tracks 262 setting tempo 262 transposing key 262 zooming in and out 262 MIDI from File 250. 274. 305 Mix Down to Track (Bounce) command 251 Mix Gauge 8. 315 MIDI In tab 232 MIDI Input Devices tab 236 MIDI Out tab 231 MIDI Output Devices tab 235 MIDI Panic Button 325 MIDI tab 253. 145. 280 mu-Law 34 Multichannel Encoder requirements 329 Multichannel Encoder. open 274 Session.

291 Quick Filter 157 QuickVerb 138 R Rack Settings command 252 Range (cue) 80 Range Boundaries. 36 Read Method 50 Real Time Preview 8 Real-Time effects about 269 assigning tracks to 270 Rebuild Wave Display Now 222 Recent Folders 46. 77. 51 Preview Buffer 217 Preview Buffer Size slider 338 Preview Device selection 337 Preview Format Selector 338 Preview Volume slider 336 Properties 233. defining 38. 236. show 197 Pink noise 191 Pitch Bender 183 Pitch Shift (preserves tempo) 186 Placekeeper. 278 Record 23. 232 Organizer Window 17 Organizer Window. save 222 Peak Files 221 Peak mode 107 Peaks Cache 222 Percentage 88 Percentage Clip 71 Perception 131. 234. moving files to and from 9 Pre-Mixing 226. 293 . show 281 Pan slider 303 Pan/Expand 113 Panning Assignment selector 332 Panning Mode 226 Panning slider 292 Parametric equalizer 155 Paste 62 Paste to New 62 Pattern 299 Pause Background Mixing 327 Pause button 22 PCM 36 PCM Raw Data 36 Peak Amplitude 200 Peak Cache Files. 248 Portion Bar. 293 Original Artist field 90 Original Medium field 90 Origination Date 94 Origination Time 94 Originator 93 Originator Reference 94 Out button 286. 295 Placekeepers 15 Play button 22 Play List. 289 Out of Band Peaks 73 Output 119.372 INDEX Open File button 17 Open Order 226 Open Session 274 Open Waveform 275 Open/New Collection 210 Order 229.f. changing 38 Ranges. 296 Presets 20. 276. 241 RAW 29. show 79. 231. 293 Output Button 244 Output Device 288 Output meters 336 P p. 230 Pan button 286 Pan controls 289 Pan Envelope automation 334 Pan Envelopes. 52. show 86. 235. 274. show 84 Play Looped button 23 Play to End button 22 Play/Record 225 Play/Record Buffer 217 Playback Buffers 225 Playback Devices command 253 Playback Devices tab 233 Plextor (D8) 50 Plot Style 221 Point (cue) 80 Pop Oversamples 165 Popup Menu 216 Portion bar 289 Portion Bar. Vertical 243 Possibly Clipped Samples 200 Post-Filter 224 Pre/Post Filter 76 Pre-Filter 223 Premiere Pro.d. 287 Pulse Train Verification 164 Punch In 306 Punch In option 264 Q Q (Bandwidth) tab 145 Q box 133 Q values 255. 140 Phase Analysis. Horizontal 39.

327 Shortcut Key 352 Shortcuts (Keyboard & MIDI Triggers) 236. Vertical 40 Run Normalize button 73 Run Script 210 S SAM 29 Sample Accurate Sync 327 Sample Rate 45. 314 Snap to Frames 69 Snap to Frames (Always) 314 Snap to Loop Endpoints 314 Snap to Ruler 69. 314 . 65 Select View option 42 Selected Waves 305 Selection 219 Selection. 76. Horizontal 40. 198 SampleVision 34 Save 52 Save All 53. 328. convert 277 Sample Values 88 Sampler tab 94 Samples 86. 189 Silence option 43 Sine 194 Slack 228 Smooth all edit boundaries by crossfading 223 Smooth auto-scrolling during playback 227 Smooth Delete and Cut Boundaries 223 SMP 34 SMPTE Enable 326 SMPTE format 86 SMPTE Start Offset 326 SMPTE tab 228 Snap to Blocks 314 Snap to Cues 69. 249 Ruler. 294 Select All Blocks 312 Select All Blocks in Track N 312 Select Entire Wave 42. about 248 Session Files 9 about 241 Session Properties 284 Set Controller 7 305 Set Current Clipboard 62 Set Tempo 304 setting volume 263 Settings 214. 278 Save Mixdown As 277 Save Mixdown To Video As 279 Save Multitrack Session As 276 Save Selection 53 Save Session 275 Save Session As 276 Save Waveform As 52 Sawtooth 194 SBC Read 50 Scan for Silence Now button 66 Scientific Filters 158 Script tab 205 Scripts 209 Sec Tone field 91 Secondary Temp 217 Sel/View Controls 26 show 85. 76 Restore Defaults button 352 Resynthesis Window 323 Reverb 139 Reverb. 74. 241 Session Display. 75. 345 Silence 97. 273 Sample Rate. full 130 Reverse 97 Revert to Saved 51 Rewind button 23 RMS Settings 201 Ruler. save 53 Send 32-bit audio as 229 Session append to 274 close 275 new 273 open 274 save 275 save as 276 Session Display 19. 279 Save As 52 Save as type 52 Save copies of all associated files 276 Save extra non-audio information 53.ADOBE AUDITION 373 User Guide Record Enable Button 244 Recording in Edit View 41 in Multitrack View 242 Recording Buffers 225 Recording Devices command 253 Recording Devices tab 234 Recording Length 207 Refresh Effects List 187 Refresh Now 314 Remove Blocks 312 Repeat Last Command 62 Resample 54 Reset button 71 Resolution 45. Track Display 249 Ruler.

show 291 Track Record 226 Track tabs 290. about 61 Undo/Redo. 311 Trim Digital Silence 69 Trim option 43 TXT 31 U Undo 217. enable 61 Upsampling quality level 223 V Valleys. 89. 301 Undo History 58 Undo. show 24 . 294 Timed Record 207 Time-Scale Stretch 93. 268. 313 SND 30. 297 Tempo Envelopes. show 214 Tool tab 205 Toolbars 16. 284. 294 Transport controls 336 Transpose 304 Triangle 194 Trim 66. 259 Tip of the Day. 289. 293 Solo Current Track option 251 Solo Track option 251 Soundtracks. 88. show 290 Track Equalization Fields 245 Track Equalizer 254 Track faders 289 Track Level slider 334 Track Name Field 244 Track Number field 92 Track Pan command 252 Track Pan Field 244 Track Properties 256 Track Properties. 292 Track Volume command 251 Track Volume Field 244 Tracks Mixer 286 Transport Buttons 22 Transport Buttons. 310 Square 194 Start Date field 91 Start Order 226 Start Recording 207 Static Peaks option 25 Statistics 199 Status Bar 27.374 INDEX Snap to Zero Crossings 69 Snapping 69. show 85. replacing 263 Source Selection 49 Source Supplier field 90 Speaker placement 339 Special effects 175 Spectral Display 221 Spectral tab 219 Spectral View 38. 303 Time Reference 94 Time Stretch (preserves pitch) 186 Time Window 26 Time Window. show 85. 290. show 283 Tempo Matching 259 Tempo Matching Stretch Method 93 Tempo tab 297 Tempo. 34 Solo button 244. edit 87 Temporary Folders 217 Text Fields tab 89 Ticks per Beat 87 Ticks/beat 297 Time Offset 262. 79 Spectrum 219 Spin Up Before Extraction 51 Splicing Frequency 186 Split 267. 295 Stereo Chorus Mode 119 Stereo Expand 114 Stereo Field Rotate 114 Stereo Phasing 129 Stop button 22 Stopping Time 228 Stretch 185 Sub Channel Level slider 333 Surround Panner 331 SVX 30 Swap Byte Order 50 Swap Channels 50 Sweeping Phaser 141 Synchronize Blocks with Edit View 326 Synchronize Cursor Across Windows 208 System tab 216 T Take History 302 Takes enabling 260 merging 260 Temp Folder 217 Tempo 93. 295 Total Available Space 58 Total RMS Power 201 Track Context Menu 249 Track Controls 243 Track cue 81 Track Display Ruler 249 Track EQ Window.

327 WMA 35 Z Zero Crossings 66 Zoom Buttons 25 Zoom Buttons. 79 edit 281 Wet Out 120 Wet/Dry Fields 246. 315 save as 52 Waveform Display 221 Waveform Statistics 199 Waveform View 38. show 281 Volume slider 292. 33. show 282 White noise 191 White Progress Background 220 Window Menu . show 295 VOC 32 Vocoder 322 Volume 298 Volume Envelopes. 30. 35 Wave Block Properties 303 dialog box 261 Wave Cache 217 Wave Display 19 Wave Display Right-Click Menu 42 Wave Display. 294 Zoom Factor 215 Zoom in/Zoom out 304 . adjust 302 Wave Properties 89 Wave Volume. adjust 302 Waveform edit 301 new 45 open 46. 303 VOX 32 W WAV 29.ADOBE AUDITION 375 User Guide Vertical Portion Bar 243 Vertical Ruler 40 Vertical Scale Format 88 Video from File 250. 288 Wet/Dry Mix Envelopes. navigating 38 Wave from File 250. show 85. 315 Video Window.Edit View 28 Windows Media Audio 35 Windows PCM 35 Windows Recording Mixer 209. 315 Wave In tab 230 Wave Out tab 229 Wave Pan. 275.

376 INDEX .

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